Präludium (Harpsichord Version)

Produced by Irreverence Group Music, this Special edition contains an alternative recording of the Cycle Op. 9's first song, Präludium (Aufruf), in which Soprano Rachel Hippert collaborates with Costa Rican harpsichord player María Clara Vargas Cullell. This recording is available as a bonus track for the physical album's second release, and in iTunes will be available on September 6, 2017. The iTunes release includes new cover Artwork, Silent Witnesses by Colombian-born American painter Jorge Posada.

Suicidio en Guayas (Live Recoring)

An elderly woman who decides to burn all of her possessions (i.e., her memories) and to start all over. A girl who is kidnapped and murdered. A cyborg or robot who is subject to sexual and domestic slavery, becomes aware of herself and then rebels through pain as her weapon for freedom. These are the three main characters of this oratorium, which concludes with a requiem in memory of composer Pauline Oliveros (1932-2016).

Tribute to Pauline Oliveros

On September 13, 1970, a young composer named Pauline Oliveros (1932-2016) published in The New York Times an article entitled "And Don't Call Them 'Lady' Composers", Ms. Oliveros addressed an unasked yet (tellingly so) critical question: “Why have there been no ‘great’ women composers?” Her argument is guided by a questioning of critical, historiographic and technical discourse. Oliveros explained how the cult of innovation constructs figures of "greatness," and to what extent society promotes the virilization of these discursive models.

She Knows (Live at Na Bolom)

I assume minimalism as an asceticism. The Mexican duo ChaTo (Julio Torres and Pablo Chavarría) is characterized by choosing not to seek an extratemporal transendence in their live performances. For them, the instant is the only thing that exists: like a mandala, it is built to later be erased. Between the three of us, what we make is and is erased in improvisation; in its becoming, it is resonance and its fragility. As a trio, we base our work on this break. But, “what is it that is broken? What is that precious object that we want to preserve?” Torres asks. “The process of reaching the breaking point, an emptiness, like a cinematographic suicide in each work”, Chavarría responds.

Experimentelle und unbestimmte Lieder Op. 9

We live in a world where silence has been lost. We live in the constant search for social acceptance, and our universe revolves around social networks. "How can we talk about what is happening today in the world, if we do not know what is happening within us?" We do not know our hearts, natures, and potential, and most of us are too afraid to confront our true selves. This work: Experiential and Indeterminate Songs, Op. 9 (Experimentelle und unbestimmte Lieder Op. 9) is a call to silence, to the exploration of our inner processes, and to the search for fullness.