Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970 and pursued studies with both men during the 1970s. Hennix began her musical studies in the 1960s by exploring the music of the art music composers Iannis Xenakis and Karlheinz Stockhausen. Hennix was affiliated with MIT's AI Lab in the late 1970s and was later employed as research professor of mathematics at SUNY New Paltz. Hennix) is a Berlin-based Swedish-American composer, philosopher, scientist and visual artist associated with drone minimal music. A new, expanded realization of “The Illuminatory Sound Environment” including works by both artists, is installed at ISSUE's 22 Boerum theater, free and open to the public June 15th - 19th, 12-10pm.Ĭatherine Christer Hennix (C.C. She currently resides in Berlin, Germany, where she is active as a composer and writer.As part of the June PAN_ACT festival, ISSUE Project Room and Goethe-Institut New York present a free talk with composer, philosopher, scientist, and visual artist Catherine Christer Hennix in conversation with anti-artist Henry Flynt. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.Ĭatherine Christer Hennix (b. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing. Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions.
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