News

Welcome to my new web page! As you can see, it is still very much up in scaffolding, but will come together in the coming weeks!

On November 26th, I will be joining the new Hexad ensemble in Helsinki for a second time!

https://www.liberomureddu.com/hexad

I will be joining a new project, Visuell och musikalisk kontrapunkt, which has just gotten support from the Swedish Music Council for 2019, with violinists Anna Lindal and Biliana Voutchkova and visual artist Lisskula Moltke-Hoff, through the Khimaira project space in Stockholm. Mad looking forward, stay tuned, and have a look at their work in the meantime!

https://lisskulla.weebly.com/

http://www.bilianavoutchkova.net/

http://www.annalindal.se/

And! On December 21st, I will be playing a solo set at Fylkingen on one of Per Åhlund’s lovely Anonyma Alkemisterr productions.

I also recently started volunteering sometimes again with local Stockholm non-profit music organizations. Here are those I am currently working with!

Fylkingen Records: because I realized a grrl has to actually know how to do things putting out records for herself, instead of depending on others’ knowledge:

https://www.fylkingen.se/fyrec

F.R.I.M.: (an organization promoting improvised music in Stockholm): Because “trevligt musik, bra stämning” (nice folks, good music):

http://frim-stockholm.se

Stockholm Art Music Center (SAMC): Because we need more spaces for music in Stockholm. This is one of several groups working on building and programming a new space in Stockholm with concert and rehearsal spaces:

http://stockholmartmusic.se

Upcoming Performances and Activities

7 September, 2019: Hexad, a new ensemble dedicated to the performed of real-time composed music, will perform at the ITÄ festival in Helsinki. The ensemble was formed by pianist Libero Mureddu, and includes Livia Schweizer, Aino Juutilainen, Ville Herrala, Janne Tuomi and me. https://www.kivaatekemista.fi/kohde?id=28426

19 September, 2019: Christopher Elgh’s opera, Valerie’s Voice, will have it’s premiere in Stockholm! It will run all weekend as well. I list it here because I am the recorded voice of Valerie Solanas in the opera, which I am incredibly glad to have gotten the opportunity to do! – https://www.valeriesvoice.se/

27 September, 2019: I will be playing with the Trondheim Jazz Orchestra in the beautiful Nidaros Cathedral! https://www.kamfest.no/

14 November, 2019: My multichannel piece Vädersolsmodernitet, will be played at the Nordic New Music Days festival in Bodö, Norway. The piece is made from field recordings of Stockholm, and is one of the works in my PhD project, The Ephemeral City: Songs for the Ghost Quarters, Stockholm. https://nordicmusicdays.org/

26 November, 2019: Hexad,Hexad, a new ensemble dedicated to the performed of real-time composed music, formed by pianist Libero Mureddu, and including Livia Schweizer, Aino Juutilainen, Ville Herrala, Janne Tuomi and me, will perform in Helsinki at MuteFest Festival. https://mutefest.wordpress.com/

For a list of previous performances and activities stretching back to the year 2000, you can visit Past Shows and Occasional Other Activities, Past to Present

Doctoral Research

I am currently working on a Phd in Music at Lund University. I am nearly half way through my project, and have completed 12 music/sound works for it so far. Here is the current draft of the project’s abstract:

The steeples of Lutheran churches are prominent in the Stockholm skyline, yet the country is largely secular. The frequency and amplitude modulation apparatus of the Swedish Radio reach out over the city alongside privatized spectrums, internet cables, and the city’s all but abandoned underground telephone system. Stockholm contains cityscapes that have been there for centuries, yet it is also full of the most modern and current day examples of architecture and built environments, all jostling for their place in parallel collective memories.Thus I want to expand allegories to these architectural instruments into the world of the mechanical and the electrical, stretching back into the folkloric world and forward into the unfolding universe of electronic music technologies, in order to spin ephemeral cities from stories more subtle than the forces at work where the physical one is changing rapidly in ways that are often disempowering.

The materials in the project are drawn around themes of urban memory and transformation, psychogeography and the “ghosts” of the imagined city. There are two sets of questions the artistic works of this project are created to develop and address. One is about the ability of individuals to affect their own experience of urban life in terms of collective memory and imagination, and the other is about how the combination of unusual timbral materials and real-world sounds can trigger or inform that ability. Experiential contact with the collective daily life of the city that is the subject of the work is necessary to the aims and methods of the research. I have used Stockholm as a model, because I have lived and worked there for many years. Stockholm’s particular history has offered a unique contrast between the optimistic modernism and industrialism of the last century and the ghost of the older, pre-industrial city, as well as a third, very new strain of globalization.

The music for this project centers around a group of compositions , improvisations and sound installations utilizing modular synthesizers, pipe organs, multi-channel settings, PureData and SuperCollider programs, mechanical string choirs of hurdy-gurdy and nyckelharpa and the scordatura violin central to much of my artistic practice. These instruments form an allegory to different architectures in Stockholm. The project also employs field recordings, and the sonic archeology they represent, to meld these instruments together and further address the questions posed. The finished work is a collection of psycho-acoustic triggers for collective memory. Here the aim is to make an audial exploration into psychogeography, and learn how music and sound might be used to give people a stronger sense of place and identity, and thus be empowered before transformations taking place in the city where they dwell.

There is an improvisatory practice in how we relate to urban environments; en ever-transforming inter-play of action and memory played between the animate and inanimate. Each individual draws a phantom set of memory images- or “ghosts”- onto the cityscape, which is played out in everyday transit through the city. There are as many Stockholms as there are people there and gone, and this yields subtle ways people can be empowered in their surroundings. The theoretical material utilized in this project deals with questions of what collective memory of a city is, and how it can be found or represented in sound, through the study of psychogeography, urban history and activism and theoretical writings around space and place. The methodical application of these theoretical materials in the project’s music include work around micro-tonality and acoustic artifacts, synthesis, field recording, processing concrete sounds, combining acoustic and electronic instruments and work with different kinds of spatialization and installations. The sonic creation of imagined places and histories is a metaphor to urban environments, where new places are created by filling in the gaps between and building upon the foundations of the old ones. In total the project creates a monad – The Ephemeral City – out of music and sound works, in order to argue that the reclamation of the ephemeral, the subtle and the imagined is a way to empower urban dwellers with ownership of their own city, immune to the vast economic forces tearing through the fabric of Stockholm life by virtue of the ghostly, transitory and mercurial, as compelling to the inner eye as brick and mortar to the outer life.

As this site progresses, the music/sound works of the project will be able to be accessed here.

Media

I am working on assembling media for this page, and determining what the best way to host and display my work is.

Meanwhile you may go to Soundcloud:

souncloud.com/katthernandez

for an odd smattering of things.

Or for home-made films of violin solos, mostly in the strange little apartments I live in, go here:

YouTube Channel

And there are additional videos from 2008 – 2015 at the following locations:

Last day as a producer at Fylkingen – June 2015

Live at Rökridån, Stockholm – December 2015Live at Victors Cafe, GöteborgNovember 2013

Solo in the Foyer of Konserthuset, Stockholm (excerpts)  – April, 2013

Quartet with Joel Grip,Didiere Lassere and Jean Rogier
– from Bordeaux, France, October 20, 2010

Into the Shiny Battle(excerpts edited together)– a collaboration with Zack Fuller, Jonathan Vincent, and Zack’s son Kai, from Mobius(Boston), March 19-20, 2010

Psychotic Trio(excerpt)
Part 1Part 2 – with Daniel Blacksberg and Evan Lipson, from Gojjo(Philly), 2008 I believe

Trio with Liz Albee and Charles Cohen(short clip)– Brickbat Books(Philly), Sept 22, 2008

Summer Solstice Review(excerpt)Part 1Part 2 -with all manner of folk, Magic Gardens(Philly), June, 2008

Quartet with Erik Ruin, Charles Cohen and Reid Books(exceprt)Part 1Part 2 – Moles Not Molars at the Physik House(Philly), 2008

Contact

You can reach me at:

Phone:

+46 (0) 73 873 4748

+1 917 720 3476 (no sms, but there is voicemail)

Skype: katthernandez (Forwards to American phone number if I’m not there)

Email:

katt@katthernandez.net

Postal Mail:

Blåsutvägen 5 Lgh 1703

121 36 Johanneshov SWEDEN

(I love getting letters, and occasionally send them!)

 

I am currently making a radical shift to the way I communicate and use the internet, and am thus in the process of removing myself from all social media, chat and instant chat based communications platforms.I tried it for six months last year, and found I had not yet arrived at solutions for knowing when concerts, gatherings and events were, but will make another attempt as soon as I come up with a better set of solutions.