Biography:

Nathaniel Haering is deeply interested in the use of live electronics to expand the artistic capabilities of traditional instruments and augment their timbral horizons while enriching their expressive and improvisational possibilities. This perspective is also highly influential and represented in the gestural power and extended sound worlds of his purely acoustic work. He has collaborated with and had works performed by Grammy® Award-winning Vietnamese performer and composer Vân Ánh Võ, Trio Accanto, Ensemble Mise-En, Mivos Quartet, Wild Up, and members of WasteLAnd, Ensemble Ipse, Ensemble Dal Niente, the International Contemporary Ensemble, and the LA Phil. Winner of the 2019 ASCAP/SEAMUS Student Award, the 2019 PRIX CIME Residency Prize, and the Mixed Media Award of Distinction from MA/IN festival in Matera, Italy, Nathaniel’s work can be found on flux, vol. 33 as well as multiple volumes of Music from SEAMUS. His pieces have recently been featured at the International Computer Music Conference in Shanghai, Seoul, and NYC; the Toronto International Electroacoustic Symposium in Toronto; Noisefloor Festival at Staffordshire University, UK; VIPA in Valencia, Spain; WOCMAT in HsinChu City, Taiwan; SONIC MATTER in Zürich, Switzerland; and at numerous other international venues. Nathaniel completed a Ph.D. in Music Composition at the University of California San Diego and is a Lecturer in Composition & Technology and Theory at the University of Wisconsin - Milwaukee.

Artist's Statement

Nathaniel Haering is enraptured by the sharp juxtaposition of extreme virtuosity and genuine nuanced vulnerability, and uses live electronics to expand and enhance the engaging confluence and complex discourse of these ideals. He believes that both electronic and purely acoustic composition and mastery are essential and heavily inform and advance one another. Nathaniel is deeply interested in the use of live electronics to expand the artistic capabilities of traditional instruments and augment their timbral horizons while enriching their expressive and improvisational possibilities. This perspective is also highly influential and represented in the gestural power, analysis based pitch content, and true respect for the careful development and control of idiomatic and idiosyncratic extended techniques as a driving foundation of his purely acoustic work. The use of non-diachronic/biological time as well as stochastic/algorithmic compositional processes in tandem with a series of time-based attack points generated by controlling the probability of attack onsets through varying exponential and logarithmic curves helps structure most of his work as part of an ever growing fascination with perspectives of manipulations of perceptions of time.