Wild at Heart Pauline Kim Harris

• Yoon-Ji Lee (b. 1984):
• 1 Lee: Shakonn (After J.S. Bach's BWV 1004) 07:48
• Elizabeth Hoffman (b. 1927):
• 2 Hoffman: Morsels (After J.S. Bach's BWV 1004) 06:21
• Annie Gosfield (b. 1960):
• 3 Gosfield: Long Waves and Random Pulses (After J.S. Bach's BWV 1004) [Version for Violin Solo] 10:53
• John King (b. 1953):
• 4 King: C-H-A-C-O-N-N-E 14:56
• Total Runtime 39:58

Info zu Wild at Heart

Wild at Heart is the second album in the “Chaconne Project” series on Sono Luminus which reaches into the realm of parallel universes — connecting the past to the present, into the future. A collection of contemporary chaconnes that echo reincarnations of Bach’s iconic work, Wild at Heart is in essence a stark contrast to the first release, Heroine. All music for acoustic, solo violin, it reflects a spectrum of sounds from delicate harmonics to extended-technique driven, hardcore noise with a touch of ethnic flare -- new responses to the iconic Bach Chaconne. The composers featured on this album are Yoon-Ji Lee, Elizabeth Hoffman, Annie Gosfield and John King, who each introduce a unique voice, pushing sonic expectations of the violin in unexpected ways.

Heroine was released in the fall of 2019, just before the global pandemic hit. At that time, I fantasized about “freezing time” and played around with the concept that by stretching and layering a familiar piece of music into an open space, the sense of passing time can be altered into an infinite unknown. Part of understanding time relates to what we know comes next — the expectations or outcomes of what follows is what allows us to dream of a future which is yet to be defined. As there is no real way to control the future, the past is also unalterable. However, the journey in the present is a record of our evolution connecting the past to the present.

If this global pandemic of 2020 has made anything more clear, it is that we are all connected. By simply remembering something that is not physically here on earth anymore, it is “kept alive.” Some believe in the afterlife. This means there must have been a past life. Lately, I’ve been thinking about the possibility of both co-existing in “real time” and the notion of the omnipresent God. What if the dead, the living, and yet to be born are all part of a multilateral evo-system? Could the music that we perform, record and release be in some magnificent way connected?

At first, these new works felt like mere reactions to the Chaconne. But now, as Ambient Chaconne from Heroine was a futuristic reimagining of remaining fragments deconstructed, I really see this second album as a series of reincarnations of Bach’s Chaconne. Each composer found their own personal connection to the Chaconne, giving new life to those select elements from the original work that resonated with them. Whether it be the bass line, counterpoint, the keys of d minor and D Major, you will find a magical resemblance, evolved.

Performing the original work connects us to the past, keeping Bach present. Creating new works inspired by the Chaconne facilitates a dream for a future. And, the new works are reproductions of the past in new lifeforms.

Pauline Kim Harris, violin

Pauline Kim Harris
aka PK or Pauline Kim is a Grammy™-nominated violinist and composer. The youngest student to have ever been accepted into the studio of legendary violinist Jascha Heifetz, she has since appeared throughout the US, Canada, Europe, Asia and Australia as soloist, collaborator and music director. Currently known for her work with classical avant-punk violin duo String Noise with her husband, Conrad Harris of the FLUX Quartet, she has toured extensively with Orpheus Chamber Orchestra, has been a long standing member of the SEM Ensemble and OstravskaBanda in the Czech Republic and has been a guest artist with leading new music ensembles such as Talea, ICE, Alarm Will Sound, Argento, TRANSIT, Object Collection, Glass Farm Ensemble, Ensemble LPR, Wordless Music and Ensemble Signal in New York City.

Committed to the idea that music is one continuous lineage of expression and demonstration of time, Pauline has been dismantling the norm of expectation of a typical classical violinist by performing in concerts presented in museums, churches, nightclubs, out of doors, rooftops, pop-ups to major stages with an openness to genre. As a composer, Pauline searches for a tactile connection between memory and sound. Her music creates a multi-dimensional sonic matrix through composition, transporting the listener to an alternate co-existence. She introduces an environment that alters the listener’s emotional identity to what they are experiencing.

Active in the experimental music scene, her work extends into interdisciplinary worlds, crossing boundaries and connecting visual art, electronics, media, film and dance to music. She has premiered and recorded works by Alvin Lucier, John Zorn, Philip Glass, Steve Reich, George Lewis, David Lang, Du Yun, Annie Gosfield and more.

Crossing over into the rock and pop worlds, she has played and recorded as collaborator and leader for Jeff Beck, Lenny Kravitz, David Byrne (Talking Heads), Jonny Greenwood (Radiohead), Greg Saunier (Deerhoof), Tyondai Braxton, Max Richter, Gordon Gano (Violent Femmes), Jon Brion, Savion Glover, Gabriel Kahane, Mica Levi (Micachu and the Shapes), Jay Z/Beyoncé, Adele, Peter Gabriel, Somi, Jane Siberry, Macy Grey, Laurie Anderson, Björk, Roscoe Mitchell, Max Richter, Rostam Batmanglij (Vampire Weekend), Michael Leonhart, Placido Domingo, Joni Mitchell, John Cale (Velvet Underground), Billy Martin (Medeski, Martin & Wood), Jason Moran, Dan Romer, William Basinski, Jherek Bischoff, Stars of the Lid, Goldfrapp, Chilly Gonzales, Louis Michot (Lost Bayou Ramblers), Kishi Bashi, Nico Muhly & Doveman, Nu Deco Ensemble and with Jónsi Birgisson (Sigur Ros) in the fall of 2019.

Pauline was the first Music Director for the Bill T. Jones/ Arnie Zane Dance Company and has been the featured artist for choreographers David Parker, Kora Radella and Pam Tanowitz. She has performed at MASS MoCA, MoMA, the Metropolitan Museum, Museum of Contemporary Art in Chicago, iMOCA, Baryshnikov Arts Center, Guggenheim, The Drawing Center, Paula Cooper Gallery, Barnes Foundation, Brooklyn Museum and Noguchi Museum to name some.

She has appeared at Lincoln Center Out of Doors, Ghent Jazz Festival, North Sea Jazz Festival, Lincoln Center Festival, White Light Festival, Big Ears Festival, Liquid Music, Jacob's Pillow, Barbican, Miller Theater, Baryshnikov Center, DiMenna Classical Center, Symphony Space, Joyce Theater, Roulette, Issue Project Room, BAM, Sydney Opera House, Library of Congress, FringeArts, Lincoln Center, and Carnegie Hall.

Pauline moved to NYC at the age of 15 to study with Dorothy DeLay at the Juilliard School and is currently a sought after mentor to dance and drama students through the Juilliard Mentoring Program.

Booklet für Wild at Heart