New York-based composer Lois Vierk (1951), a student of Mel Powell and Morton Subotnick at the UCLA and a student of Japanese court music in Japan,
specializes in sounds that evolve gradually and build up a suspenseful climax.
Simoom (XI, 1990) contains three pieces for multiples of the same
Go Guitars (1981) for five electric guitars (tuned microtonally around E), that
lends itself to a form of ritualistic music hammering mercilessly like a Glenn Branca orchestra,
Cirrus (1987) for six trumpets, and
the chaotic Simoom (1986) for eight cellos.
Vierk's "exponential structure" builds up dense and intense sonic architectures
out of rather simple sounds.
The slow development of these pieces has something in common with minimalism,
but their emotional force is more in line with cerimonial and primitive music.
River Beneath the River (Tzadik, 2000) contains four compositions:
two works for string quartet, River Beneath the River (1993)
and Into the Brightening Air (1994),
Red Shift (1989) for cello, electric guitar, percussion and synthesizer
(the first in a series of four works for percussion, synthesizer and other
and Jagged Mesa (1990) for two brass ensembles (two trumpets, two trombones, two bass trombones).
She has also composed
Tusk (1981) for 18 trombones;
Hyaku Man No Kyu (1983) for eight ryuteki flutes;
Crane With 1000 Wings (1984) for eight violins;
Manhattan Cascade (1985) for four accordions;
Timberline (1991) for flute, clarinet, bassoon, viola, string bass, synthesizer, percussion;
Devil's Punchbowl (1993) for orchestra;
Dark Bourn (1995) for four bassoons and four cellos;
Silversword (1996) for gagaku orchestra;
Europa (1997) for brass quintet;
Deep-water Waves (2001) for bassoon, electric guitar, violin, keyboard, percussion;
She is quite unique in having composed music for tap dancers:
Twister by (1993),
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