*Limited edition of 300 copies.* A striking new addition to the evolving catalog of Berlin-based composer Catherine Lamb, 'interius/exterius' is a long-form chamber nonet developed through a sustained dialogue with the musicians of New York’s Ghost Ensemble. Scored for flute, oboe, accordion, viola, cello, four- and five-string contrabasses, harp, and hammered dulcimer, the work investigates how collective intentions or focal points allow various and sometimes unusual sonic pathways to emerge in an ensemble context.

At the core of 'interius/exterius' is a unique organizing principle: tones are generated with an “in/out” relational intention, shaping the way sound moves within the ensemble. In an “interior” direction, tones balance inward, reinforcing the equilibrium of the collective, while in an “exterior” direction, tones radiate outward, inviting subtle changes in texture and a broader field of interaction. This interplay of interiority and exteriority extends beyond dynamics or articulation—it is a structural force that influences timbre, modes of listening, and the evolving harmonic architecture of the work.

'interius/exterius' took shape over a series of intensive workshops between composer and ensemble, supported in part by Chamber Music America’s Classical Commissioning Program. In early 2022, Lamb traveled from Germany to present sketches and exercises based on the piece’s tonal and formal foundations. Over the course of four days, the ensemble gained fluency in Lamb’s tuning system and developed ideas that matured into some of the nontraditional elements of the work. This intimate collaborative process culminated in a premiere at Roulette Intermedium in New York City in December 2022 and a 2024 studio recording that captured the piece in vivid detail.

The harmonic material of 'interius/exterius' is derived entirely from the harmonic series of a theoretical 10Hz fundamental—an inaudible frequency whose overtones define a resonant, interlocking lattice of sound. This base-10 tuning system allows every pitch to be understood in relation to its spectral position, creating a shared harmonic language among the performers. Ghost Ensemble’s performance reveals the otherworldly sonorities that arise from this structure, as shifting alignments, phasing relationships, and gradual timbral transformations guide the music’s unfolding.

Lamb’s compositional language is deeply shaped by her studies with composer James Tenney and Dhrupad musician Mani Kaul, as well as her ongoing engagement with microtonal performance practice. Her interest in musical perception and psychoacoustics positions 'interius/exterius' as both an inquiry into the nature of harmonic space and a lived experience of collective attunement. As Lamb notes, “the subject of deep listening, in the spirit of Pauline Oliveros, is absolutely central to the piece.”

Ghost Ensemble—known themselves for championing the work of Oliveros—are perhaps, then, ideal collaborators, bringing both profound sensitivity and intuitive fluency to Lamb’s music. With 'interius/exterius', Lamb and Ghost Ensemble have achieved a collaborative work of rare clarity and conceptual depth—simultaneously precise and open, crystalline and fluid, exquisitely attuned to the interplay between individual agency and collective form.