“Deerhoof drummer Greg Saunier created a dazzling suite of songs by his band called Deerhoof Chamber Variations that Dal Niente performed, radically reconfiguring the music while retaining its quirky melodic shapes.”
— Chicago Reader

INTERSECTIONS

Intersections features repertoire made possible by the convergence of seemingly disparate musical worlds. Featured on Dal Niente’s 2016 album Balter / Saunier, Deerhoof Chamber Variations is a set of songs arranged for Dal Niente by composer Greg Saunier, also the drummer of Deerhoof ("The best band in the world" - Pitchfork); Saunier's arrangements juxtapose gorgeous orchestrations alongside chamber rock-outs. Music by composer LJ White’s assimilates “...an unrestricted array of influences through unpredictable-yet-contagious rhythms…” and his new work for Dal Niente will engage with material by Des Moines-based artist Christopher the Conquered. Composers have also mingled with one another across time and place, as evident in the horn trios by Johannes Brahms and György Ligeti, the latter of which was composed as a response to Brahms’ influential work. Additional explorations include the intersection of music and theater (Jessie Marino), music’s approaching noise (Katherine Young), and other possibilities.

Musicians Used:

9

Core Repertoire:

Greg Saunier - Deerhoof Chamber Variations
LJ White - New Work

Optional Repertoire:

György Ligeti - selection from Horn Trio
Johannes Brahms - selection from Horn Trio
Jessie Marino - Wilford Brimley and his Robotic Dog Seize Burger King in a Bloodless Coup
Katherine Young - like a halo
Other Repertoire TBD

Previous Presenters:

Ecstatic Music Festival (@ Kaufman Center's Merkin Hall)
Des Moines Civic Music Association
Darmstadt Summer Courses for New Music
University of Wisconsin
Claremont Colleges
Western Michigan University
Dal Niente's Chicago Concert Season

Related Media:

Click "play" below to listen to an excerpt of Greg Saunier's Deerhoof Chamber Variations:

At first, it’s tempting to try and play “name that tune” with the piece, but after a while, the work becomes its own entity and takes on a near-Gershwin quality. Saunier’s orchestration of his band’s melodies serves to illustrate the hidden complexity of the group’s pop craft.
— Tiny Mix Tapes
The work was met with an enthusiastic reception by the audience, a few of whom, in earshot, pointed out Saunier’s classical training as the backbone of the piece’s success. (Saunier studied at Oberlin in the early ‘90s.) However, while Saunier’s classical background certainly bubbled to the surface, the work owes just as much to his DIY ethic and unabashed spirit of experimentation.
— Feast of Music