The University of Washington Percussion Ensemble (Bonnie Whiting, director), presents a collaborative concert with percussion students from California Institute of the Arts. The students perform music by Anthony Braxton, Yaz Lancaster, Elizabeth A. Baker, Anahita Abbasi, and David Rosenboom.
Anthony Braxton: Composition 221 + 246 (in collaboration with students at the California Institute of the Arts)
Yaz Lancaster: Sequoia
Elizabeth A Baker: Shapes
Anahita Abbasi: Situation III
David Rosenboom: Continental Divide
Note: A companion concert hosted by CalArts Percussion streams on YouTube Sunday, Dec. 13, 7 p.m. View the livestream here.
Bonnie Whiting performs, commissions, and composes new experimental music for percussion. She seeks out projects involving non-traditional notation, interdisciplinary performance, improvisation, and the speaking percussionist. She lives and works in Seattle, WA, where she is Chair of Percussion Studies and an Assistant Professor at the University of Washington School of Music.
Her debut solo album, featuring an original solo-simultaneous realization of John Cage’s 45’ for a speaker and 27’10.554” for a percussionist, was released by Mode Records in April of 2017. Her sophomore album Perishable Structures, launched by New Focus Recordings in August of 2020, places the speaking percussionist in the context of storytelling and features her own music as well as works by Vinko Globokar, Frederic Rzewski, Richard Logan-Greene, and Susan Parenti.
Recent work includes performances as a percussionist and vocalist with the Harry Partch Ensemble on the composer’s original instrumentarium, and a commission from the Indiana State Museum’s Sonic Expeditions series for her piece Control/Resist (2017): a site-specific work for percussion, field recordings, and electronics. Whiting has an ongoing relationship as a soloist with the National Orchestra of Turkmenistan via the U.S. Embassy Cultural Affairs Office, playing concerti in Ashgabat in 2017 and 2018. She collaborates frequently with percussionist Jennifer Torrence, giving concerts of new experimental work for speaking percussionists throughout Norway and the US. Her collaboration with multimedia artist Afroditi Psarra generated the album < null_abc >, released on the Zero Moon label in 2018. Their current project with designer Audrey Desjardins on transcoding data from IoT devices as performance received a 2019/20 Mellon Creative Fellowship. This project was explored in a workshop at the 2020 Transmediale Festival in Berlin, and currently lives as an interactive net art installation. 2021 brings the premiere of Through the Eyes(s): an extractable cycle of nine pieces for speaking/singing percussionist collaboratively developed with composer Eliza Brown and ten incarcerated women, and the world premiere of a new percussion concerto by Huck Hodge with the Seattle Modern Orchestra.
Whiting has presented solo and small ensemble shows at The Stone in New York, the Brackish Series in Brooklyn, The Lilypad in Boston, The New York City Electroacoustic Music Festival, at Hallwalls in Buffalo, the Tiny Park Gallery in Austin, The Wulf in LA, the Carl Solway Gallery in Cincinnati, The Grove Haus in Indianapolis, on the Wayward Music Series in Seattle, on tour throughout New Zealand, and at colleges and universities around the country. Whiting has collaborated with many of today's leading new music groups, including red fish blue fish percussion group, (George Crumb’s Winds of Destiny directed by Peter Sellars and featuring soprano Dawn Upshaw for the Ojai Festival), eighth blackbird (the “Tune-in” festival at the Park Avenue Armory), the International Contemporary Ensemble (on-stage featured percussionist/mover in Andriessen’s epic Die Materie at the Park Avenue Armory, and the American premiere of James Dillon’s Nine Rivers at Miller Theatre), Bang on a Can (Steve Reich’s Music for 18 Musicians for the LA Philharmonic’s Green Umbrella Series) and Ensemble Dal Niente (the Fromm Concerts at Harvard.)