“This album resulted (like many things) from experimentation, and actually from composing etudes for
myself to practice justly-tuned chords. From that starting point I began to think about space, not just
space like the silence around sound events, but also the hollow, resonant spaces in my sinuses and
mouth, and the space where the sounds were recorded, or the space where the sounds were listened to.
I wanted to show the many colors of the sounds, even the hidden ones, like Pauline Oliveros who said in
her essay, Some Sound Observations, that she was “capturing sounds from a nether realm.” When I
brought the pieces into the studio, Tornike, the engineer, said something like “You don’t need electronics
if you can do this,” which felt like the highest compliment.”

Described as “shin[ing] with a dazzling display of virtuosity,” by Tempo magazine, violinist Myra Hinrichs, is a recent transplant to Los Angeles, having previously lived in San Diego and Chicago. She can be found around the country creating and playing in chamber ensembles such as i/O Quartet, Acorn Projects, and Chartreuse String Trio, or maybe joining Monday Evening Concerts or the punk marching band Mucca Pacifica for the evening. She has taught Music Theory and Music History courses at UC San Diego, and also has done Suzuki training to teach violin students young and old.