This tumultuous time invites us all to re-engage with our listening and creating. Since March, 2020, I’ve been creatively composing short, quick “etudes” that utilize sounds, songs and experiences of my time here in Ireland while welcoming the messiness of these times into my work. The intention is to share with others these non-perfect explorations of texture, gesture and sonic colors in order to open dialogue about what music means right now. How can our works poignantly and efficiently address our times, while also invite us all to simultaneously be both humbled and take action to develop real change to the status quo — to both listen and take advice from our colleagues, friends, neighbors, who need support? My works may not yet do this, but I’m working on it.
Siúil a rún (2020)
Working at-a-distance with the LA-based Irish-US composer Jack Van Zandt has been such a gift during the corona virus lockdown. While I shelter-in-place in Cork, Ireland, Jack’s long-lost-home, we worked over the internet to co-design a new adaptation of this traditional Irish song that was taught to me by my Sean-nós teacher Máire Ní Chéileachair who is also singing in this version. We combined old with new, dreams with history and organic acoustic sounds with the digital arts to create an entirely current expression. This outcome is the first of a new collaboration that will involve Irish painters, storytellers, writers, and many other collaborators… Take a listen (we encourage listening with headphones or high quality speakers in order to hear the details) and dream the story that comes to your imagination.
Ō is another word for Ear (2020)
“Ō is another word for Ear” is a quote from R.A. Stewart Macalister’s 1937 book “The Secret Languages of Ireland” in which he describes the various kinds of cryptic languages, like Ogham, that were spoken and used as hand signals many centuries ago. My goal is to compose a series of pieces that are inspired by secret codes and cryptology which even today surround us. Some of my work will result in text scores in which all people can participate. Other pieces will be instrumental. This is one part of a live performance, in which I am playing piccolo with/into Ableton Max4Live. This is part of a series of pieces I wish to design for multiple-channel speaker systems so the audience will be immersed in the intimate bilabial, fricative and guttural sounds of the piccolo’s tube. Can another language be heard?
In January, 2018, Jane Rigler performed two new works with Christopher Jette and Matthew Wright at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford, taking advantage of the 64-channel array of speakers on the CCRMA Stage.
Excerpt of Part 1, a duo for moving flutist and mono-chord with electronics:
Excerpt of Part 2, with Jane Rigler on flute + electronics, Christopher Jette and Matthew Wright on a cybernetically-controlled feedback network.
Lullabies and Sleepless Dreams (2017)
In September 2017, Jane Rigler and vocalist Haleh Abghari created a new concert program Lullabies and Sleepless Dreams in which lullabies and dream-related songs from around the world are combined and featured.
Haleh Abghari, voice and Jane Rigler on flute, live and prerecorded electronics
Originally available on Neuma records, this album is currently being transitioned to the innova label. For a copy of the actual CD and notes, please contact Jane directly.
Rewind, with Janet Feder, guitar, banjo, other objects, Shoko Nagai, piano, farfisa organ, accordion, and keyboards, Jane Rigler, flutes, electronics, and Satoshi Takeishi, percussion, electronics
Mukta (solo flute) from Rarefactions
Mandorla 2 (2016)
Mandorla 2 (Bandcamp album)
Mandorla 2 (by Jane Rigler, flutes and Agustí Fernández, piano) is an extraordinary album, full of subtle nuance, space, imagination and tenderness.
The Calling (2012)
This is a live performance of The Calling (the solo live electronics-flute version). In this work one can hear traces of people talking, coffee machines, a construction site, the street vendors in Kyoto and Tokyo, the Alaskan sounds of the humpback whales off Resurrection Bay and the Holgate glacier… and Jane Rigler, on flute(s).
Chihan Art Project (2013)
This work was part of Jane’s Chihan Art Project 2013 sound installation/concert While You Sleep:
all flutes recorded, and edited by Jane Rigler. Mastered by Mike Yach, Immersive Studios. Dedicated to Nobuko Awaya.
The following is a collection of works performed/recording between 2006-2011:
Traces/Huellas Live Performance: Flute and Electronics
Two Seaming for 2 female flutists
interweavingLines for 3 piccolos
Percussive Loops flutes/electronics
Red for solo piccolo
You can hear Jane on:
Mark Applebaum’s Plundergraphic and The Metaphysics of Notation
Linda Dusman’s An Unsubtaintial Territory
George Lewis’ Hello Mary Lou
Marisa Manchado’s Eros y Tanatos
Al Margolis’ If, Bwana/An Innocent Abroad
Andrew Raffo Dewar’s Six Lines of Transformation
Trio with Andrew Drury, percussion
Ricardo Arias, balloons
Jane Rigler, flutes
with percussionist Andrew Drury and soprano saxophonist Michel Doneda: Clean Brook, Loose Too
and in duo with Marisa Manchado Algalia
unprocessed, pure sounds of the humpback whales in off the coast of Resurrection Bay, Seward, Alaska, on June 14, 2012 (taken during the EcoSono Institute, directed by Matthew Burtner)