Katinka Kleijn and Lia Kohl play with 30 cellos in a swimming pool

Chicago Read - March 2019

Gossip Wolf has always assumed that water and stringed instruments don't mix, but Katinka Kleijn (who plays in the CSO and the International Contemporary Ensemble) and Lia Kohl (who's in Mocrep and CabinFever) point out that their cellos are made of the same stuff as many canoes and sailboats! At 7 PM on Saturday, March 16, the duo performs "Water on the Bridge" at Eckhart Park's natatorium. "We will improvise with cello and water sounds, field recordings, and live electronics by Daniel DeHaan," says Kleijn, "as well as moving, floating, and swimming with 30 cellos in the pool."

Bienen DMA student Daniel Dehaan named UChicago Field Fellow

Northwestern University - January 2017

Daniel Dehaan, a doctoral student in music composition at Northwestern University’s Bienen School of Music, has been named a Field Fellow for 2016-17 by the University of Chicago as part of its ongoing Arts, Science & Culture Initiative.

Field Trip / Field Notes / Field Guide is a trans-disciplinary consortium of fellows from the University of Chicago, the University of Illinois at Chicago, the School of the Art Institute of Chicago, and Northwestern University. The program is intended to build an interdisciplinary community that engages Chicago's vibrant urban environment, providing a unique platform for exchange across disciplinary and institutional boundaries.  

ICElab Confidential: Dehaan's Sensory Illusions Permeate Constellation

by Arlene and Larry Dunn - June 2014

ICE closed out the 2013-14 concert season in stellar fashion with a tequila toast at Constellation Chicago on June 15, 2014. Tequila shots notwithstanding, the most intoxicating grog of the evening was the Chicago premiere of ICElab composer Dan Dehaan’s Trompe l’Corps. If Roulette in Brooklyn was an apt venue for the December world premiere of Dan’s piece, owing to its connotations of the chance nature of the cosmic forces Dan is reckoning with, Constellation was equally relevant for its evocation of astronomical phenomena.

Sounds Heard: Chris Wild – Abhanden

by Ellen McSweeney - February 2014

Chicago composer Daniel Dehaan’s If it encounters the animal, it becomes animalized begins calmly enough, in an ether of harmonics. But then an arresting groan, as if from the mouth of a living creature, emerges and startles the listener. This is the first signal that the piece, a virtuosic tour-de-force for solo cello, will indeed engage the instrument’s “animal nature.” Dehaan’s piece places the animal (the human performer) in a many-sided physical relationship with the cello and all the raw materials of which it is made. 

by Matthew Guerrieri - January 2014

In Objects in This Mirror, a purely electronic work, Dehaan peeled away where McCormack piled on. A shimmering cluster was first deconstructed into audio artifacts: the crackle of overmodulation, the diffracted, stuttering chime of intersecting oscillators isolated and extracted. Then the cluster was divided and recombined into a slow, lush, Eno-like progression. To call something “tasteful” might seem like damning with faint praise, but the piece’s sure-footedness was impressive—with Dehaan tweaking away at a mixing board, the durations, balances, and timbres always felt like just the right choice . . .

Fifth Floor Collective - January 2014

I have always liked the livability of electronic music. I suppose if I could afford to hire live performers to sustain one chord for an entire weekend while I did my laundry, I might be satisfied by acoustic music alone but electronic music affords me the luxury of prolonged exposure to the actual vibrating forces I am working with as apposed to just the concept, or my imagination of what it will sound like. I like to know first hand in the process of creating my music what it does to my body, to my manner of thought, to my daily habits.When I began studying academic composition I unplugged for several years and worked only with pencil and paper and this changed a lot of things about my compositional voice. I was no longer limited by the things I knew how to make and now was only limited by the things I could imagine, it lead me to organize sounds within new guidelines and new structures . . .

by Arlene and Larry Dunn - December 2013

“Fortunately we live on the basis of vital illusion, on the basis of an absence, an unreality, a non-immediacy of things.” With that thought from Jean Baudrillard’s The Perfect Crime in mind, ICE gave the world concert premiere of Dan Dehaan’s Trompe l’Corps at an OpenICE event at Roulette in Brooklyn on December 17, 2013. Dan’s work was paired in this concert with the equally impressive ICElab compositions of Felipe Lara.

Playing off the term trompe l’oeil or “optical illusion” from the visual arts, the title Trompe l’Corps is best understood as a more expansive “sensory illusion,” encompassing all human perceptive powers . . .

SOUND ROOM: THE HUMANS AND THE MACHINES

By Ellen McSweeney - November 2012

The basement of the SOUND ROOM installation is where the bass frequencies live. Down here, at the bottom of a three-floor brick building on an industrial side street in Chicago, there is almost no light. As you walk through the dark space, you can begin to make out the shapes of hulking speakers, some large enough to lie down on. If you stay in the basement during a surge of bass and volume–like the one during Mike Gillilan’s electronic work Tonar—you’ll swear that the sound is coming from the giant wooden beams in the ceiling, roaring out from the walls. If you sit on the cold cement floor and close your eyes, it is as if you are inside an enormous subwoofer.

ICElab Confidential: Sounds Coalescing into Music

by Arlene and Larry Dunn (@ICEfansArleneLD) - April 2013

Nathan started, striking prayer bowls in a complex pattern, manipulated by Dan in repeats. Tony began to whisper as the bowls quieted, then Dan added repeats of her whispering and the bowls in an intricate swirl. The volume of the bowls and whispering increased and just as we began to understand the text, the gongs entered from the upper level, creating the feel of a larger space and being surrounded by music. Nathan moved to his large gong and Tony started her sequence of hand signals. Slowly building from 1 to 5, a final surge into the unbearable for only a moment, and then quiet triangle strikes to a peaceful conclusion.

Violence for Isolation | Rebekah Heller ICEsolo(4) at Corbett vs. Dempsey

by Daniel R. Dehaan - January 2013

From its inception, to its completion Violence for Isolation has seen a bit of the world. The creation process began with an email from Rebekah Heller while she was in Köln Germany with ICE this past May. In it she described her vision as being “something glacial and epic and strange and beautiful and raw all at once.” Around the same time as Rebekah and I began planning our project, my father and I were planning a motorcycle trip from San Francisco to Alaska and back. Immediately after reading Rebekah’s email I thought there was nothing more glacial, or epic, or strange, or beautiful, or raw, and all of these things at once, than Alaska. Rebekah and I both agreed that the first thing to be done was for me to pack up some recording equipment, catch a plane to California, get on a motorcycle, and head north.

Music of the hemispheres

by Peter Margasak (@pmarg) - January 2013

In December I sat down with Dehaan and Ingebritsen at a Columbia College sound lab and tried out the device. By willing myself into a calm, meditative state, I was able to transform a processed recording of Ingebritsen's brain waves, slowing down its rhythms and lowering its pitch; after trying to set my mind racing with stressful thoughts, I could make it accelerate and send its pitch zooming upward. The headset is a toy compared to state-of-the-art EEG equipment, but it quickly translated my brain wave output into modifications of the filter parameters to which Dehaan and Ingebritsen had connected it. And what Kleijn, Dehaan, and Ingebritsen are doing with this system is far more sophisticated than my little experiment. More important, it's not just about sound—it's an attempt to generate a sonic map of the mind in the midst of the creative process.

Musician Performs Duet with Her Own Brain

By Rebecca Nelson (@rebeccarnelson) - January 2013

“Intelligence in the Human Machine,” the cello/brain duet, explored the relationship a performer has to the music she’s playing. During the performance, at Chicago’s Cultural Center, Kleijn wore an Emotiv EPOC, a neuroheadset with 14 sensors that attach to the scalp and detect brainwaves. In front of her, a laptop flashed a word and a few measures of music. She then played the music on her cello, interpreting the word onscreen. At the same time, her brainwaves, translated to audio, changed sounds as she reacted to the word.

ICE Solo(4): Confrontation and Introspection

by Arlene and Larry Dunn (@ICEfansArleneLD) - January 2013

Dan’s Violence for Isolation for bassoon and field-recorded sounds, though a radically different conception, also operates on a strictly non-rational plane. It opened with just the bassoon, evoking the sounds of the wind. Rebekah moved her instrument to and from the microphone to make the sound fade and increase, suggesting changes in the wind. When the recorded sounds entered, we were immersed in the natural environment. The first sounds were fairly quiet, like insects scampering on the forest floor. Rebekah’s playing and the recorded sounds steadily  increased in volume, reaching a crescendo that sounded like a raging glacial sluice of icy gravel-filled water cascading down the side of a mountain. As the volume reached its peak intensity, Rebekah stopped playing and let it wash over us all, then subside.

ICElab Confidential: Daniel Dehaan in the Crucible of Composition

by Arlene and Larry Dunn (@ICEfansArleneLD) - October 2012

ICElab 2013 participant Daniel Dehaan’s life is a bit of blur right now. He is teaching composition and electronic music technology at Columbia College Chicago. He just started the Doctoral program in music composition at Northwestern University, where he is also teaching Aural Skills. Many days he is on the NU shuttle racing between NU’s Evanston campus and Columbia in Chicago’s South Loop to meet this commitments. Through all this, Dan is developing multiple new compositions: a new work for Bassoon and Electronics for ICE memberRebekah Heller to be premiered in Berlin and Chicago, Intelligence in the Human-Machine for Brainwave Machine and solo Violoncello for ICE member Katinka Kleijn (part of an installation at Chicago Cultural Center in January). And of course he is hard at work on the early stages of his ICElab commission.

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