Schlagquartett Köln



















Jacob Gotlib (*1984)

Jacob Gotlib (b. 1984) has written music for instruments, electronics, dance, and multimedia. His music explores approaches to patterning, repetition, and panel-like structure, and works with materials informed by concepts and processes in electronic music. His work is regularly performed by a variety of ensembles including Ensemble Linea, Ensemble SurPlus, Ensemble Dal Niente, Crossfire Percussion Duo, Schlagquartett Köln, and Slagwerk Den Haag.

In the last several years, Jacob´s music has received recognition from ASCAP/SEAMUS (for Embers), Ossia (for The Slow Splintering), The Acht Brücken Festival (for Scape After Louise), and Gaudeamus Muziekweek (for Portrait Sequence (Blanching Out)). Upcoming commissions include solo works for cellist Jon Silpayamanant, tubist Aaron Hynds, and trombonist Weston Olencki, and a site-specific work for Louisville´s Bernheim Forest and Arboretum.

In 2007, Jacob was a co-founder of the Kansas City Electronic Music and Arts Alliance (KcEMA), whose mission was to promote experimental music of all types across the Kansas City area. He was also a member of the Buffalo, NY-based new music collective Wooden Cities and currently works with Louisville, KY-based Mothership Ensemble. In addition, he is the host of Muddle Instead of Music, a weekly program dedicated to contemporary music on Louisville´s ARTxFM station.

Jacob has studied at the Oberlin Conservatory, the University of Missouri-Kansas City, and in 2015 completed doctoral studies with David Felder at the University of Buffalo.

Scape After Louise (2010)

for percussion quartet

Scape After Louise was inspired by the sculptures of Louise Nevelson (1899-1988). Nevelson is famous for her huge wooden assemblages, each consisting of a network of boxes or grids. Within each box there are a set of found objects whose shape and characteristics remain consistent, but whose order, size, and permutation are changed in each box. Upon first seeing the work in Kansas City´s Nelson-Atkins Art Museum, I was thrilled by how a work so rigidly structured and static could explode with so much inner life and vitality. Though the sculptures stood still and monolithic, it seemed as if inside they were in a constant state of fluid and amorphous movement.

My goal in this work was to not only translate aesthetic logic of Nevelson´s work into a musical form, but to translate my experience of looking at the work itself - the way my eyes perceived the work and the way it is interpreted in my mind. Like Nevelson´s sculptures, the piece contains four different sonic objects that are grouped into four different "panels." The first movement, "Dusk: Squaring the Circle" is more objective, consisting of a gradual focusing and zooming-in upon the panels; at first each panel is audible individually, then each group of objects, then each individual object by itself. It is akin to (aurally) moving ever-closer towards the work, viewing it from its broad totality to its finest detail.

In the second movement, "Dawn: Reassemblages," the artwork is reconstructed in my subjective mind. As my mind begins to reconstruct the work from the smallest details to the full picture, the individual objects take on new meanings and personalities. They are no longer tightly bound by the grid of the work, but are free to transform, interact, and to take on unexpected traits and meanings.

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  von HYPERWERK 2002