A L V I N L U C I E R A C e l e b r a t i o n with an introduction by Michael S. Roth essays by Nicolas Collins and Ronald Kuivila and an interview with Andrea Miller-Keller and Alvin Lucier Published in conjunction with the exhibition Alvin Lucier (and His Artist Friends) at the Ezra and Cecile Zilkha Gallery, Wesleyan University November 4 through December 11, 2011 Wesleyan University Press Middletown, Connecticut 06459 www.wesleyan.edu/wespress Copyright © 2011 The Early Years: Excerpts from an interview with Alvin Lucier Copyright © Andrea Miller-Keller 2011 All rights reserved Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Alvin Lucier : a celebration / with an introduction by Michael S. Roth ; essays by Nicolas Collins and Ronald Kuivila and an interview with Andrea Miller-Keller and Alvin Lucier. p. cm. Includes bibliographical references. ISBN 978–0–8195–7279–0 (pbk. : alk. paper) — ISBN 978–0–8195–7280–6 (ebook) 1. Lucier, Alvin. 2. Composers — United States — Biography. I. Collins, Nicolas. II. Kuivila, Ron. III. Miller-Keller, Andrea. ML410.L8973A65 2011 780.92 — dc23 2011039041 5 4 3 2 1 Editor: Andrea Miller-Keller Design and typography: Catherine Waters Production and press supervision: The Production Department Printing and binding: The Studley Press Inc. Back cover image: Alvin Lucier, Rezonanzen Festival, Berlin, 1999 Photo credit: Michael Schroedter Table of Contents 5 Introduction Michael S. Roth 7 In Appreciation Pamela Tatge 9 Symposium with commentary 13 Vespers Nicolas Collins 17 Alvin in Albany Ronald Kuivila 21 The Early Years: Excerpts from an interview with Alvin Lucier Andrea Miller-Keller 31 Alvin Lucier Biography Andrea Miller-Keller 33 Concerts with commentary by Alvin Lucier 43 Alvin Lucier (and His Artist Friends) Exhibition Checklist Andrea Miller-Keller 45 Biographies 48 Acknowledgments Alvin Lucier, Parshall, Colorado, 1997 Photo credit: Amanda Lucier Introduction What a gift, what a pleasure to celebrate the musical contributions of Alvin Lucier, who has been inspiring students at Wesleyan since 1968. When he started Michael S. Roth teaching here, Alvin was joining a department that already had demonstrated President, Wesleyan University a strong commitment to experimental and world music. John Cage had made Wesleyan a home away from home, and David McAllester, Bob Brown and Richard Winslow were bringing sounds from around the world (and the instruments that make them) to this quiet campus in central Connecticut. But perhaps “quiet” is the wrong word. After all, revolutionary campus politics and avant-garde ideas were animating the Wesleyan culture when Alvin began teaching here. He, too, was open to revolutionary and avant-garde impulses; and he was also open to the possibilities for hearing things within the quiet. It turned out to be an enormously potent combination. At Wesleyan, Alvin’s anti-parochialism found fertile soil. There were always willing musical collaborators, and visual artists, too, found inspiration in his spirit and his practice. Disciplinary constraints make little sense to artists or to scientists, and at Wesleyan we have tried to cultivate a spirit of experimentation that responds to what is happening in the world—not to what is expected from convention. Alvin Lucier’s contributions to experimental music have continued to produce what we most hope for from the best forms of experimentation: opening us up to new ways of thinking/feeling and shaking up what we thought we already knew. Each year students have entered his classes thinking they know what music is, where it comes from and even what it might be. Without hectoring, without preaching, they are taught to think otherwise. What a gift! What a pleasure! 5 Alvin Lucier, Music for Pure Waves, Bass Drums and Acoustic Pendulums, (1980) Crowell Concert Hall, Wesleyan University, 1985 Photo credit: Gary Smith In Appreciation On behalf of the faculty, staff and students affiliated with Wesleyan’s Center for the Arts, we are delighted to offer this catalog in tribute to the widely acclaimed Pamela Tatge Alvin Lucier, known affectionately to many of us here at Wesleyan simply as Alvin. Director, Center for the Arts, A liberal arts education is the opportunity to expand one’s world-view, and Wesleyan University at Wesleyan the arts are seen as an essential component of this exploration. Alvin’s work on our stages and in our classrooms has played a unique role in this exploration. When the music department invited Alvin to join the faculty in 1968, they dedicated themselves to a curriculum that would celebrate experimentation and innovation, a reputation they have admirably developed and strengthened ever since. Over the past forty years Alvin has taught several thousand undergraduate and graduate students, many of whom he has influenced in immeasurable ways. Throughout an era in which logic, information, competition and ambition hold sway, Alvin has embodied a different set of values. He has been a generous and giving professor, challenging his students intellectually while also giving them the space and the freedom to allow their imaginations to flourish. Alvin’s intellect, his disarming sense of humor and his infectious joie de vivre are widely cherished. Few of us who know him would ever casually pass Alvin in the CFA courtyard. Rather, we are eager to stop and hear about the latest trip, the most recent concert or the witty observation that will undoubtedly send us on our way feeling enriched and fortunate to have crossed paths with him once again. A gifted practicing artist who has toured the world, Alvin has connected us with the new, the surprising and the compelling. We at Wesleyan University have known for a long time how very lucky we are to have such a historically significant and accomplished artist in our midst, one who has also been a devoted and engaged teacher on campus. Such distinguished figures are more often imported for a one-year residency. Wesleyan has had Alvin “in residence” and active on our campus for four decades, and for this we are so grateful. 7 John Cage and Alvin Lucier preparing for Christian Wolff’s For 1, 2, or 3 People, (1964) Cage Symposium, Wesleyan University, 1988 Photo credit: Nancy Walz Symposium Notations November 4, 2011 from 12:15pm–2pm CFA Hall Since the composition of Crossings (1982–1984), Alvin Lucier has devoted much attention to composing pieces for instrumentalists. In all of these works, the actions of the performer serve more to expose the sonic phenomenon that is the central focus of the piece than to enact an expressive gesture. The same sensibility underlies Lucier’s prose works, even those that can invite quite theatrical realization. This panel explores the commitment to sounding over shaping, and how it and related issues can inform the performance of music. Anthony Burr Volker Straebel Daniel Wolf Moderator: Jane Alden Processes November 4, 2011 from 2:30pm–4pm CFA Hall Alvin Lucier’s electronic music has always avoided the conventions of electro- acoustic music in various ways, including the amplification of brain waves, the use of small pulse streams physically moved through a space, the repeated rerecording of a sound in a space or the use of a pure tone to resonate percussion instruments. Lucier chooses instead to use electronic and acoustical processes to reveal relations to sound that have not been previously enacted in music. This panel will discuss those processes and the threads they form throughout his oeuvre. Nicolas Collins Andrew Dewar Hauke Harder Moderator: Neely Bruce 9