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	Martland, Steve
		Steve Martland was born in Liverpool in 1959.
		Martland works almost exclusively with artists outside classical institutions - Dutch and American groups, free lance musicians and especially his own Steve Martland Band which tours his music internationally.
		Martland’s preoccupation with the function of the composer in society is reflected in his commitment to music education.
	www.schott-music.com /autoren/KomponistenAZ/show,3530.html (190 words)

	BORDERLINES
		Martland’s preoccupation with the social function of the artist, he feels all stages of his work from composition to final consumption are as political as they are entwined.
		Martland has chosen to work with smaller ensembles and prefers to work in direct contact with students or contemporary musicians.
		He formed the Steve Martland Band which is committed to education and has taken part in projects in prisons, community centers, schools and out into the street.
	www.balletmet.org /Notes/BORDERLI.html (2030 words)

	Record box (Site not responding. Last check: 2007-10-28)
		Martland has long been around making some dizzy with his ideas, and others enamoured with his bright and tight music skirting the accepted influences for his own thing.
		His vehicle, the Steve Martland Band, runs on musical ball bearings, ejecting the music, often like volcanic lava with the hynoptic repetitions searing the brain.
		Steve Martland presents a music for you to accept or reject.
	www.mvdaily.com /articles/2002/01/martland.htm (180 words)

	MARTLAND Horses of Instruction [GPJ]: Classical CD Reviews- Nov 2002 MusicWeb(UK) (Site not responding. Last check: 2007-10-28)
		Steve Martland is one of the more interesting characters around the current UK music scene.
		But Martland allows the texture, tempo and rhythm to change enough to avoid the ennui that can descend during even the most artful piece of Reich, and which is never far away (for me at least) in any piece of, for example, Michael Nyman.
		This is an exciting and provocative CD; as Martland suggests in his booklet notes, the performers have managed to reproduce in the studio the manic energy that characterises their concert appearances, which is quite an achievement — great fun and well worth a hearing, even if you object to Martland’s dress(or undress) sense.
	www.musicweb-international.com /classrev/2002/Nov02/Martland_horses.htm (770 words)

	La Folia -- A Personalized Ramble
		Martland studied with Louis Andriessen, and this disc sounds like an extension of the elder Dutch composer’s Hoketus and De Staat, where nonstandard ensembles fly through fast and intricate rhythmic patterns.
		Martland’s music is unpretentious and it is easy to decide whether you like it or not.
		Martland is not at a loss for ideas in this format; in fact, other works put variations over a mostly constant bass progression.
	www.lafolia.com /archive/covell/covell200205ramble.html (2856 words)

	London Music Guide: Classical, Opera, Dance and Ballet
		It takes three attempts and a minor struggle with a mobile phone to get hold of Steve Martland, but although the wonders of new phone technology aren't high on his list of priorities, promoting new music remains his number one concern.
		Martland's music, branded as 'minimalist' has received a mixed response wherever he takes it.
		And Martland appreciates that many people are simply put off by the idea of going along to a classical concert.
	www.londonnet.co.uk /Ln/out/music/classical_martland.html (750 words)

	Amazon.co.uk: Steve Martland: Horses Of Instruction: Music (Site not responding. Last check: 2007-10-28)
		Energy characterises much of this album, and it is this aspect of Martland's music that remains indelibly in the listener's memory.
		Steve Martland's first album under wide release has captured the raw energy that the band produces from his music.
		Martland's fantastic range of techniques produce sudden bursts of energy, touching silences and slow builds of tension exploding into prolonged climaxes, all within just one composition.
	www.amazon.co.uk /exec/obidos/ASIN/B00005NUOE (535 words)

	Rock meets Reich - A new album from Steve Martland is to be released on 3 September 2001
		The Steve Martland Band comprises a traditional rock rhythm section of guitar, with piano, percussion and violin.
		Martland's music is often high impact and high energy (though there are moments of great beauty and repose).
		Martland has absorbed the rhythms of rock, Latin America and techno, breaking them up with confounding beats and stunning silences.
	www.mvdaily.com /news/item.cgi?id=300030 (363 words)

	Music on the Edge - Steve Martland (Site not responding. Last check: 2007-10-28)
		Martland first came to the notice of the British music scene with the release of Babi Yar and Crossing the Border for the cult Manchester-based label Factory.
		These musicians were capable of executing Martland's complex rhythmic structures and energy levels with brilliant accuracy.
		From October 2004 all future enquiries for Steve Martland personal commissions and media interviews should be directed to Sally Groves at his his publisher Schott and Co. Ltd, London.
	www.chriscaldwell.co.uk /martland.html (152 words)

	JS Online: 'Growing' slowly unfurls its rewards
		As Steve Martland's 22-minute "Danceworks" begins, Wilbur gives us the long view of the quilt.
		She submerges the earlier material in a dance that is first about Martland's toe-stubbing rhythms, which Wilbur confronts with authority.
		She simultaneously develops a wholly new motif based on a funny contrast of stiff, abruptly stopped legs and loose, free-swinging arms.
	www.jsonline.com /onwisconsin/arts/jun01/works09060801.asp?format=print (523 words)

	CDeMUSIC
		Steve Lacy plays soprano sax in duets, one after the other, with Mashiko Togashi (percussion), Steve Potts (alto & soprano sax), Mal Waldron (piano), Irene Aebi (voice), Roswell Rudd (trombone), Bobby Few (piano), Derek Bailey (guitar), George Lewis (trombone), Ulli Gumpert (piano), and Muhammad Ali (drums).
		Reich was one of the founders of minimalist music and these two compositions from 1970, with their repetitive phrases slipping in and out of sync over long periods of time, were among those early definitive statements.
		The compositions include Steve Martland's 'Re-Mix', Graham Fitkin's 'Flak', Orlando Gough's 'Drowning', John Godfrey's 'Euthanasia', David Cunningham's 'Canta', and Laurence Crane's 'The Swim'.
	www.cdemusic.org /store/cde_search.cfm?keywords=nt1 (1465 words)

	Steve Reich
		On Friday 11 April at the Royal Conservatoire, the Stichting Steve Reich announced a major project to be held in the Conservatoire and other locations in The Hague in the first fortnight of December 2003.
		The Stichting Steve Reich is co-ordinating the project with the Royal Conservatoire, which has a long and distinguished tradition of such major educational projects involving international musicians - previous guests have included Stockhausen, Messiaen, Kagel, Cage, Ligeti and Kurtág.
		One of the world's most popular and successful living composers, Steve Reich has created his own distinctive sound which owes as much to the Balinese gamelan and African drumming as his classical forebears, from Bach to Weill.
	www.koncon.nl /public_site/stevereich (345 words)

	Classics Today.com - Your Online Guide to Classical Music
		As would be expected of Xenakis, his Khal Perr pushes the players (and their instruments) to their extremes with some blisteringly angry, occasionally frightening sounds--especially those rudely blaring trumpets in the opening.
		Lastly, Steve Martland may have been aiming for a minimalist-hypnotic effect in his Full Fathom Five, but he's undermined by the impracticality of this kind of music performed on brass instruments.
		The Martland work notwithstanding, this remains a self-recommending collection for brass enthusiasts and an important acquisition for collectors of 20th century music.
	www.classicstoday.com /review.asp?ReviewNum=5469 (305 words)

	Untitled (Site not responding. Last check: 2007-10-28)
		It is the result of a unique cross-channel relationship that was built up over the last 10 years with a significant number of commissions and the development of a special partnership between the orchestra and BBC Radio and TV.
		The term 'Dutch Music', so commonly used for Volharding-composers as Louis Andriessen and Steve Martland, does not simply refer to music written within The Netherlands, but also to a spirit of clarity, assertiveness and self-confidence.
		With Steve Martland's piece we touch the core of the 'Volharding-sound': tight, lilting (but never in an indolent ballroom fashion), provocative and highly evocative.
	www.volharding.com /cdshop.html (1539 words)

	[No title] (Site not responding. Last check: 2007-10-28)
		There are at least 4862 listings in GEMM of rare, hard to find, out of print, collectible, or just plain cheap new & used CDs, LPs, 45s, vinyl, videos, posters, videos, DVDs and more related to "" from many specialty record stores and collectors around the world.
		STEVE "" SILK "" HURLEY [ 3 ]
		STEVE BUG VS ACID MARIA [ 4 ]
	www.gemm.com /q.cgi?rb=eurokdj&artist=Steve (154 words)

	Music on the Edge - Steve Martland Band (Site not responding. Last check: 2007-10-28)
		The Steve Martland Band was brought together by the composer to specifically perform his highly energetic ensemble works written in the mid to late nineteen nineties.
		This high octane mix is addictive on hearing the Steve Martland band live.
		The Steve Martland Band is grateful for the support received from the PRS for the season 2002-2003.
	www.chriscaldwell.co.uk /smb.html (284 words)

	content
		All three pieces were jointly commissioned by the ensembles, and were given world premieres last April at the University of Iowa.
		Steve Martland has a long history with Bang On A Can.
		Brett Dean describes his Game Over, for 7 instrumental soloists, chamber orchestra, sampler and multi-track sound design, as "a live tone poem of unrealizable desires for a flailing generation." The piece includes scraps of confessions from game show contestants and sounds of audience hysteria worked into the musical texture.
	www.newmusicbox.org /news/oct00/bangonacan.html (839 words)

	2002 Pulitzer Prizes-CRITICISM, Works
		Like a rock and roll auteur, the English composer Steve Martland has built for his music a tight, electrified corps of flexible musicians devoted to playing what he writes.
		The Steve Martland Band is one of several griffinlike new-music ensembles (the Bang on a Can All-Stars in New York City and the Berkeley, Calif.-based Paul Dresher Electro-Acoustic Band are others) that combine the electric guitar, bass guitar and drum kit of a rock band with a selection of classical instruments.
		In a sense, Martland has picked up a tradition founded in the 1960s by such SoHo denizens as Philip Glass, Steve Reich and Meredith Monk, for whom writing music and performing it were intertwined activities.
	www.pulitzer.org /year/2002/criticism/works/020401.html (1719 words)

	Dave Maric: Biography (Site not responding. Last check: 2007-10-28)
		Although he studied classical piano from an early age, it was popular music, jazz and electronic music that were to become for many years dominating influences over his performing and (self taught) composing.
		However, soon after moving to London in 1988, he rapidly entered the world of contemporary classical music through joining the Steve Martland Band as pianist.
		This led to many other performance opportunities with various London based ensembles such as the London Sinfonietta, London Philharmonic Orchestra and the BBC Symphony Orchestra.
	www.katialabeque.com /davemaric/biography.html (347 words)

	Cantaloupe Music Artists (Site not responding. Last check: 2007-10-28)
		Pierson received his Bachelors degrees in physics and music from the Massachusetts Institute of Technology and is currently finishing his doctorate in conducting and masters in composition at the Eastman School of Music, where he has studied conducting with Brad Lubman.
		From the Orpheus Chamber Orchestra and the Steve Reich Ensemble to the Sheryl Crow Band and the Roger Daltrey Band, the members of Ethel bring together a vast spectrum of performing and recording experiences.
		Unencumbered by convention, genre or style, the tastes, talents and experiences of these four musicians come together to create a flexible entity that is committed to exploring new possibilities in string quartet performance.
	www.cantaloupemusic.com /artists.html (5400 words)

	American Repertory Ballet - The Repertory
		In Graham Lustig's Borderlines, the curtain rises on an empty stage dressed with a fl scrim across the back, two pipes hung with lights resting near the floor, and fl fabric wings.
		In silence, the two principals enter from opposite sides and deliberately walk to the center of the stage.
		Rich and compelling, the opening cords of Steve Martland's Crossing the Border accompany the initial duet.
	www.arballet.org /arb/borderlines.html (428 words)

	New Tone Reviews from EST 7
		Even when earlier material is now being, it only provides a limited awareness of much of the music being created at the time, a great deal of which never made it onto record in the first place.
		If you've heard a couple of the featured composers and enjoyed their music, these discs are an excellent introduction to several more who you will probably like too, although the music remains diverse and disparate.
		Contributions from Martland (typically bombastic and relentless), Fitkin (straigthforward yet engaging pianism) are predictable but enjoyable.
	media.hyperreal.org /zines/est/reviews/newtone.html (1330 words)

	Classimuse's Home Page (Site not responding. Last check: 2007-10-28)
		As a music critic who gets a lot more work in the fields of rock and jazz than in my first love, classical--and who is continually frustrated by magazines that take months to publish, edit reviews down to meaningless sizes, and drop pieces arbitrarily--I have decided to take matters into my own hands.
		The 1991 recordings on Crossing the Border invite comparison to minimalist techniques, though Martland seems to derive them from Baroque and Renaissance music.
		Dynamic contrasts are stark and abrupt, used to amplify the impact of a change in texture or material.
	members.aol.com /classimuse (4029 words)

	Cerysmatic Factory :: Factory Records > Top Ten Competition (Site not responding. Last check: 2007-10-28)
		For me, though, groups like Kalima and the Jazz Defektors (and John Dowie and Steve Martland) are what make Factory more interesting than, say, Sarah and InTape.
		Fac 318 'Classics In Motion' at Fac 51 The Haçienda, 16 October 1990: To celebrate the launch on October 29 of their five new releases on the Factory Classical strand 1990 there were five showcases, in Glasgow, Manchester and London.
		The Manchester involved The Durutti Column and Steve Martland.
	www.cerysmaticfactory.info /comp.html (1762 words)

	Fresh Ink - Society for New Music
		Also it was a real pleasure to meet Steve Heyman.
		Steve Martland Dance 1 and Dance 3, 1993 (Catalyst)
		Steve Martland Patrol for String Quartet, 1992 (Catalyst)
	www.societyfornewmusic.org /ink.cfm (442 words)

	Steve Martland CDs, Rare CD Singles, Rare Vinyl Records, Albums, Music and Discography
		Steve Martland CDs, Rare CD Singles, Rare Vinyl Records, Albums, Music and Discography
		Click here for EIL.COMs full Steve Martland Discography featuring every Steve Martland Record, CD and piece of Music Memorabilia we have ever stocked in the last 14 years!
		Click here to buy Steve Martland mobile phone ringtones via SMS, reverse billing and using you credit card online.
	eil.com /artists/steve-martland.html (140 words)

	Sequenza21/The Contemporary Classical Music Weekly
		His early works were strictly serialist in the manner of Boulez or Stockhausen, then in the 1970s he leaped from modernism to post-modernism, adopting a style that was much closer to the minimalism of Steve Reich, Philip Glass and Terry Reilly.
		Several ensembles from the Netherlands, where Andriessen is a highly influential figure, will perform during the South Bank Centre festival, including the Amsterdam Loeki Stardust Quartet, Electra, Ensemble Loos and the Orkest de Volharding (created to perform Andriessen's music in 1972), which performs the composer's film scores against a video backdrop.
		The South Bank festival also examines Andriessen's influence in Britain, presenting works by his students Graham Fitkin, Mary Finsterer and Steve Martland, whose Steve Martland Band opens the festival.
	www.sequenza21.com /100702.html (2562 words)

	Music on the Edge
		Steve Martland has been appointed as composer in residence for the ETNAFEST for 2006-2009.
		Steve Martland Band performance at ILKHOM XX 2006, Uzbekistan
		Steve Martland Band performances in Catania + Malta (June 2006)
	www.musicontheedge.com /dates.html (280 words)

	Fulham Symphony Orchestra (Site not responding. Last check: 2007-10-28)
		In 1999 the society for the promotion of new music commissioned a piece for the Discover Denmark Festival with the BCMG at the BBC Pebble Mill Studios Three Portraits of Those Most Tender which was conducted by Pierre Andre Valade.
		Steve Martland then commissioned a Marimba Concerto Lime for Goldberg Ensemble and BBC Young Musician of the Year Adrian Spillett as soloist.
		Highlights of 2002 include a collaboration with the Royal College of Art on an installation at the Bath International Festival Tomala’s Bass, a premiere by the Composers Alliance at St. Sepulchres Church in London Manchester Fugues No. 1.
	www.fulhamsymphony.org.uk /biogs4.php (804 words)

	Philharmonic Infierno: Playlists
		Steve Reich, Act I from The Cave (1995)
		Steve Reich, movement no. 5 from The Desert Music, 1985
		Steve Reich, Violin Phase, for tape and violin
	www.kuci.org /~dany/philharmonic/playlist.html (1191 words)

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