Lori Goldston: chronology

• Recording sessions with the Golden Bears, Bill Horist, Your Heart Breaks, Thomas Hardin.
• Recorded a session for KEXP’s Sonarchy with Anna Homler, Stuart Dempster, Bill Horist, Suzie Kozawa, and a session with However.
• Performances with Mirah and Spectratone International, LeRoy Bell, Cat Power.
• Instructor at Rocker Girl Camp at the Old Firehouse Teen Center in Kirkland, Wash.

2005

• Recording sessions with Dan Gallucci, The Wedding Present, Cinerama. Commissioned by the Northwest Film Forum to compose and perform silent film soundtracks with Elizabeth Falconer for “Passing Fancy and “I Was Born, But ... ” as part of their Ozu retrospective.
• Commissioned by Portland Institute on Contemporary Art to compose and perform an original song cycle with Mirah and The Black Cat Orchestra.
• Performances with Mirah at Ladyfest Olympia, Musicfest Northwest, What the Heck Fest and the Old Firehouse in Redmond with Mirah.
• Instructor at Rock Camp at the Vera Project.
• Featured speaker/performer a Seattle International Film Festival forum, “Alternate Tracks: Reimagining Classic Film Scores.”

2004

• Released “To All We Stretch the Open Arm” with Mirah and The Black Cat Orchestra on Yo Yo Recordings.
• Recording sessions with Johanna Kunin, Laura Veirs.
• Commissioned by the Degenerate Art Ensemble to compose a short work for symphony orchestra.
• Commissioned by Cornish College of the Arts to compose and record a soundtrack for piece choreographed by Peter Kyle.
• Commissioned to compose a score for the HBO documentary “Heir to an Execution.”
• Released “To All We Stretch the Open Arm” with Mirah and The Black Cat Orchestra.
• Performances with Heather Duby, and with The Black Cat Orchestra, including Yeah Fest, What the Heck Fest and opening for k.d. lang at the Paramount Theater, Seattle.

2003

• Released The Black Cat Orchestra’s “Long Shadows at Noon” on Olympia’s Yo Yo Recordings.
• Recorded and performed with Heather Duby.
• Faculty member at the Seattle Festival of Dance and Improvisation.
• Commissioned by On the Boards to compose and perform “The Wreck of the St. Nikolai,” an object theater opera, in collaboration with Kyle Hanson, writer Stacey Levine and visual artists Curtis Taylor and Eve Cohen. A work-in-progress performance was included in Portland Institute on Contemporary Art’s TBA Festival.
• Commissioned by Vanessa Renwick and the Oregon Department of Kick Ass to compose and perform a score with The Black Cat Orchestra for Decomposer, a screening of archival films in Portland, Ore.
• The Black Cat Orchestra performances at Zeitgeist Gallery in Cambridge, MA and Joe’s Pub and Barbes in NYC.

2002

• Commissioned by the University of Washington Summer Arts Festival to compose and perform a solo amplified cell score for a new work by choreographer Peter Kyle.
• Commissioned by choreographer Rob Kitsos to compose and perform a score, and by choreographer Maureen Whiting to compose and record a score for new works.
• Tour with Threnody Ensemble at All Tomorrow’s Parties in England. Toured in France, Italy, Croatia and Switzerland.
• Performances of Turkish classical and fasil music with Kane Mathis, oud; and Jane Hall, percussion; and with the Seattle Turkish Music Ensemble.
• Performances in Seattle and Portland with Latif Bolat.
• Performances with Pentecostal Bouffant in San Francisco.
• Performance in the Seattle Festival of Dance and Improvisation with Stuart Dempster, Eliza Slavet and Joan Laage.
• Performances with Larry Barrett, Greg Campbell, Elizabeth Falconer, Marco de Carvalho, Angelina Baldoz, Sandra Layman, Hank Bradley, Cathie Whitesides, Lev Lieberman.
• Recorded for “No One Lives Forever 2: A Spy in H.A.R.M.’s Way” video game.
• Lectured and taught workshops at the EMP, the Origins Conference at the Vancouver Arts Academy in Vancouver, Wash., and at the Idyllwild Art Academy in Idyllwild, Calif.

2001

• Released second Black Cat Orchestra album, “Mysteries Explained.”
• Recorded and performed with Larry Barrett.
• Commissioned by the Seattle Jewish Film Festival to compose and perform a score with for “The Life of the Jews in Palestine.”
• Commissioned by On the Boards to create a piece with filmmaker Lynn Shelton for film and solo amplified cello, “Our Round Earth.”
• Commissioned by the Olympia Film Festival to compose and perform a score for “Nosferatu” in collaboration with the band C Average.
• Commissioned by Lynn Shelton to compose and record a score for her experimental documentary “The Clouds That Touch Us From Clear Skies.”
• Performance by The Black Cat Orchestra at Portland Institute on Contemporary Art of our original score with the silent film “Spies.”
• Toured in Germany with composer/inventor Ellen Fullman and the Long String Instrument ensemble.

2000

• Co-produced and recorded Kyle Hanson’s score for 33 Fainting Spells dance theater piece “September September.”
• Commissioned by the Seattle Asian Art Museum to compose and perform a score for the silent film “Passing Fancy” with Elizabeth Falconer.
• Commissioned by 33 Fainting Spells to compose work for their dance film “Measure.”
• Commissioned by the One Reel Film Festival to compose and perform a score for the silent film “Dante’s Inferno” with The Black Cat Orchestra.
• Performance of her original solo cello score for “The Passion of Joan of Arc” at Portland’s Northwest Film Forum.
• Accompanied the silent film “The Adventures of Prince Ahmed” as part of a small ensemble in Minneapolis.
• Performance in the Seattle Festival of Dance and Improvisation with Lionel Popkin and John Dixon.
• Performances with The Black Cat Orchestra, choreographer Deborah Hay, with composer/inventor Ellen Fullman and the Long String Instrument ensemble, and Tactile.
• Improvised work with Ellen Fullman included in Volume: Bed of Sound at P.S.1 in NYC.
• Recorded for “The Operative: No One Lives Forever” video game.
• Cello instructor at The Bush School, Seattle.

1999

• Released first, self-titled Black Cat Orchestra album.
• Recording sessions with Roger Fisher, Dina Martina, Lincoln Briney, Amelia White, Marco de Carvalho and for the Seattle Repertory Theater.
• Performance of their original score for the silent film “The Seashell and the Clergyman” and “Ghosts Before Breakfast” with The Black Cat Orchestra at On the Boards.
• Commissioned by the Seattle Asian Art Museum to compose and perform a score for the silent film “I Was Born, But...” with kotoist Elizabeth Falconer.
• Commissioned by the One Reel Film Festival to compose and perform a score with The Black Cat Orchestra for the silent film “Spies.”
• Commissioned by film archivist and presenter Dennis Nyback to compose and perform solo and small ensemble silent film scores for “Italian Straw Hat” and “Bed and Sofa.”
• Appeared on a live broadcast of NPR’s “This American Life” with The Black Cat Orchestra.
• Composed and recorded a score for Seattle director Laura Cronin#8217;s film “John Gill” with Kyle Hanson.
• Performances with Jeph Jerman, Elizabeth Falconer, Steve Moore, Lori Carson, Ellen Fullman, Marco de Carvalho, Tactile and The Black Cat Orchestra.
• Cello instructor at The Bush School, Seattle.

1998

• Recording sessions with David Russell, Faster Tiger, Jeff Greinke.
• Commissioned by the One Reel Film Festival to compose and perform with The Black Cat Orchestra a score for the early silent experimental films “The Seashell and the Clergyman” and “Ghosts Before Breakfast.”
• Recital at the Seattle Asian Art Museum of 20th Century Japanese music with kotoist Elizabeth Falconer.
• Commissioned by the Frye Art Museum to compose and perform an original solo cello score for a program of silent short films by the Lumiere brothers.
• Performed an original short experimental opera with vocalist Jessika Kenney at Christian Apslund’s SEXO Cabaret.
• Performances with Old Joe Clarks, Marco de Carvalho, Tango Divina, Lori Carson, Tactile and at the Womad Festival with the Seattle Creative Orchestra.

1997

• Recording sessions with the Presidents of the United States of America, Omar Torres, Sue Ann Harkey, Laura Love, Bali Girls and Citizens’ Utilities.
• Commissioned by the One Reel Film Festival to compose and perform a score for the silent film “Dante’s Inferno” with The Black Cat Orchestra.
• Composed and performed solo and small ensemble silent film scores for “His People,” “So This Is Paris,” “The Ring, “The Average Woman, “Sex” and “Are Parents People.”
• Performances with the Old Joe Clarks, Ed Pias, Angelina Baldoz, Citizens’ Utilities, Karen Pernick, Maria Mabra, Jimmy Twyman, Daisy Hasse, Martin Lunde, Scott Fields, Tactile and The Black Cat Orchestra.
• Monthly performances with The Black Cat Orchestra at the O.K. Hotel and the Speakeasy in Seattle.

1996

• Recorded “They Are in Love” with David Byrne and The Black Cat Orchestra for the album “Feelings.”
• Recital of works by Christian Wolff with Paul Hoskin and Angelina Baldoz.
• Composed and performed scores for the silent films “Warning Shadows” and “The Passion of Joan of Arc.”
• Performances with Sue Ann Harkey, Tactile (Ed Pias, percussion; Paul Hoskin, reeds; Robert Jenkins, guitar) and The Black Cat Orchestra, including at Washington State University.
• Weekly performances at Cafe Septieme with The Black Cat Trio (Kyle Hanson,accordion and Matthew Sperry, bass).
• Monthly performances with The Black Cat Orchestra at the O.K. Hotel and the Speakeasy in Seattle.

1994

• Commissioned by On the Boards to create an object theater opera, “The Affluent Father,” with Friese Undine and Kyle Hanson.
• Black Cat Orchestra performances with the silent films “Dante’s Inferno” and “Salome” in Seattle and Bellingham, as well as monthly performances at the O.K. Hotel.
• Performance in the Seattle Festival of Dance and Improvisation with KJ Holmes and Karen Nelson.
• Performances with percussionist Ed Pias, kotoist Elizabeth Falconer.

1993

• U.S. tour with Nirvana, including an appearance on MTV’s Unplugged. (Videos of "All Apologies" and "The Man Who Sold The World" here.)
• Commissioned to compose a score for the feature film “Milk of Amnesia.”
• Commissioned by the Northwest Film Center in Portland compose and perform a score with The Black Cat Orchestra for the silent film “Dante’s Inferno.”

1992

• Co-founded The Black Cat Orchestra with accordionist Kyle Hanson.