Pauline Oliveros writes: “A Trilling Piece for Terry was commissioned by Sarah Cahill for Terry Riley's 80th birthday year in 2015. A Trilling Piece for Terry deconstructs trilling by interpreting the trill as alternating between two or more sounds or tones at any speed from extremely slow to extremely fast and explores sounds over the entire piano including the keyboard. The piece may be performed by one or more players.” For this recording, Samuel Adams joined Sarah for an extended version, and placed small resonators on the strings. According to Pauline’s instructions, Sarah prepared the piano with a few dimes, weatherstripping, and other implements, and also used a small stone to bounce against the strings as well as superball mallets to rub the inside and outside of the piano.
Pauline Oliveros, composer, performer and humanitarian, was an important pioneer in American music. Acclaimed internationally, for more than four decades she explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she created a body of work with such breadth of vision that it profoundly effects those who experience it and eludes many who try to write about it. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level," stated John Rockwell. Oliveros was honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern or in the studios of a West German radio station, Oliveros' commitment to interaction with the moment was unchanged. Through Deep Listening Pieces and earlier Sonic Meditations, Oliveros introduced the concept of incorporating all environmental sounds into musical performance. In performance, Oliveros used an accordion which has been re-tuned in two different systems of her just intonation in addition to electronics to alter the sound of the accordion and to explore the individual characteristics of each room.
She was the first director of the San Francisco Tape Music Center (now known as the Center for Contemporary Music at Mills College ), director of the Center for Music Experiment at the University of California at San Diego, and served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College.