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Erling Wold is a composer, aesthete and a bon vivant. Last year saw the premiere of two large works, his Missa Beati Notkeri Balbuli Sancti Galli Monachi in St Gallen, Switzerland, and his solo opera Mordake for tenor John Duykers in the San Francisco International Arts Festival. He is currently working on a noise-music collaboration with fognozzle, on a personal autobiographical theater piece detailing his corruption and death with the help of James Bisso, and on a violin sonata for the Denisova-Kornienko duo in Vienna. His dance opera Blinde Liebe, on a true crime story, was recently performed in Europe and the US with Palindrome Dance of Nürnberg Germany. His chamber works have been presented in Philadelphia by Relâche, in San Francisco and Santa Cruz by New Music Works, and by the San Francisco Conservatory New Music Ensemble. He completed a residency at ODC Theater with a presentation of his opera Sub Pontio Pilato, an historical fantasy on the death and remembrance of Pontius Pilate (also performed in Austria), a chamber opera based on William Burroughs' early autobiographical novel Queer, and his critically acclaimed work A Little Girl Dreams of Taking the Veil, based on the Max Ernst collage novel. The latter piece was given its European premiere in a German version by the Klagenfurter Ensemble in July of 2001 and toured to Max Ernst's hometown of Brühl. He has written a number of solo piano works, including Albrechts Flügel, premiered by Finnish pianist Marja Mutru and more recently Veracity, which he premiered. He has worked extensively with dancers in the US and Europe. He has written a number of pieces for a dancer-controlled interactive video and music system for Palindrome dance. He has also worked with Nesting Dolls in Los Angeles and San Francisco on several theater and dance projects, including 13 Versions of Surrender and I brought my hips to the table. Most recently he has co-composed the scores for several Deborah Slater Dance Theater projects with Thom Blum. He is an eclectic composer whose teachers include Gerard Grisey, Robert Gross, Andrew Imbrie and John Chowning, but who has also been called "the Eric Satie of Berkeley surrealist/minimalist electro-artrock" by the Village Voice. He composed the soundtracks for four Jon Jost films. There are currently seven CD and two DVD releases of his music, he was included in the first magazine/CD issue of the Leonardo Music Journal, and has had a number of works published by Tellus and the Just Intonation Network. He has published technical and artistic articles in several publications, including IEEE MultiMedia, Proceedings of the International Computer Music Conference, SIGGRAPH, the Just Intonation Journal 1/1, IEEE Transactions on Computers and several books. He has six patents in musical signal processing. He holds a doctorate from the University of California at Berkeley and was a researcher in signal processing and music synthesis at Yamaha Music Technologies before cofounding Muscle Fish LLC, an audio and music software company.


DieciGiorni 10DAYS A collaborative opera based on Boccaccio's Decameron. Running for two weeks: FRIDAYS THROUGH SUNDAYS AT 8PM directed by jim CAVE music by lisa SCOLA PROSEK • davide VEROTTA • martha STODDARD • erling WOLD set design by thomas PROSEK in the lush	9/10/2010 08:00 PM Thick House 1695 18th Street San Francisco CA 94107 us	Phone:415 902 9653 Email:erling@erlingwold.com Web:www.diecigiorni.org
Two Orchestral Waltzes for Lynne "The waltz, in fact, is magnificently improper - the art of tone turned bawdy. I venture to say that the compositions of one man alone, Johann Strauss II, have lured more fair young creatures to lamentable complaisance than all the hypodermic syringes of all the white slave scouts since the fall of the Western Empire. There is something about a waltz that is simply irresistible. Try it on the fattest and sedatest or even upon the thinnest and most acidulous of women and she will be ready, in ten minutes, for a stealthy kiss behind the door - nay, she will forthwith impart the embarrassing news that her husband misunderstands her, and drinks too much, and cannot appreciate Maeterlinck, and is going to Cleveland, 0., on business to-morrow..." H.L. Mencken. The two waltzes here are written for my inamorata, and reflect two of her most beguiling facets, the first: as the fallen Russian aristocrat, the woman of a certain expectation lacking the allowance that would sanction it; the second: as the haughty and dominating sovereign, unwilling to brook any usurpation of her ultimate and crushing authority. Popularly, waltzes are thought of as dances in 3/4 time, but the word waltz merely means a revolving dance, as both words come from the same root, and many dances named waltzes over the last few centuries have been in a variety of meters: 2/4, 3/4, 6/8, 5/4. But in the end, composers get to call their works whatever they want, so, while the first soi-disant waltz is in 3/4, it is hardly a dance at all, more a concert statement of unbridled passion, discords and all, and the second, while primarily in a fast 3/4 with shifts to 2/4, carries us away in a whirl, a flash of ankle as the ball gown spins up, bodies pressed against each other, a fevered head falling to a shoulder in a swoon of sweet and utter surrender.	2/28/2009 08:00 PM Old First Concerts 1751 Sacramento St San Francisco CA 94109 us	Phone: Email:erling@erlingwold.com Web:www.sfcco.org