Huib Emmer, composer and performer

CDs

2010: Z6 records: GREEN DESERT

http://www.z6records.nl/emmer.html

2009 Het projekt Tijdlus van de Rotterdamse groep voor beeld en geluid Faces ( Joost van Veen-beeld, Lukas Simonis-gitaar-compositie, Nina Hitz-cello, Kaouru Iwamora-fortepiano, synthesizer, Huib Emmer-live electronics, compositie) komt uit op het Z6 label.

Verkrijgbaar via: z6records(@)xs4all.nl

Positive Noise- the remix from the 2006 movie Harrachov Exchange by Matt Hulse, Joost Van Veen, Ben Rivers, Guy Bishop- released on dvd of the project, avaiable from www.filmbank.nl

----IKZIcd 001: Modern Compositions (2006): Camera Obscura, GloriousStranger, Blue Distance, Lake Disappointment.

----Muziekgroep Nederland (Donemus) Composers Voice Highlights-CV72:

Pieces for ensembles: Crawling up the Wall (1992), Singing the Pictures(1981), Pulse Palace (1992), and Memory Drums (1995).

----MuziekgroepNederland (Donemus) Composers Voice-CVCD 8703:Piece for piano: Stukken (1982)

----NMclassics 92074: Piece for 2 pianos: Point Blank (1990-91)

----PEM-Gaudeamus:Short electronic piece: Agitato (1999)

---X-ORFR3:Live electronics: The Twist (1994)

---VPRO EigenWijs Moon Dive aflevering 1: Ensemble+ live electronics: Glorious Strangers (1999)

---X-ORCD09:Electronic pieces: Full Colour Ghost (1999)

---Z6:Electronic pieces for Radio Worm : Radion (2001)

Radion is dedicated to Jean Pierre Melville

ELECTRIC GUITAR:

LOOS- Fundamental Geestgronden 10 distribution: BV Haast

LOOS- Armstrong Okkadisk od 12034

Lukas Simonis: Collaborations

Modern Compositions

The pieces on this CD evolved quite separately and yet, with hindsight, you can detect several fundamental similarities. One of the core themes running through how I compose is combining written notation with electronic sounds, which developed when I started working with electronics in 1992. It is an extremely rich and relatively unexplored terrain, opening up the discovery of a great wealth of new spaces.

Another important aspect is the close cooperation I have with the musicians I write for. The specific playing style of these musicians, with whom I have worked since the 1970s, has left its imprint on the compositions. You could even say that I did not produce these pieces single-handedly. My collaboration with writer Ken Hollings also fits this context. He wrote the libretto for our opera Bethlehem Hospital, and since then we have worked on a range of projects, including Glorious Stranger. The close cooperation with certain musicians links back to my pop background when I played in bands.