sélection d'œuvres, qui devrait être donné plus d'attention à

sélection de très belles œuvres

Chronological Tzadik - 3

performed by le Nouvel Ensembe Moderne; Lorraine Vaillancourt, conductor

Strange Loops, for chamber orchestra and electronics

El Desatino Controlado

Música para Flautín, Tambor Tenor y Sonidos Electrónicos

Flautín: Gabriel Fernández
Tambor Tenor: Marcos Monti

El Desatino Controlado

In 2010 Michael Finnissy wrote this beautiful and intriguing work especially for Modelo62. It was such a huge honor and a big pleasure working with him!
We are now sharing a live version of the work before we take it on our upcoming tour to Mexico in May 2014.
If you want to learn more about his work, we invite you to check his own website: http://www.michaelfinnissy.info/



Mondo Trasho (by Michael Finnissy, 2010)

3 parties :

1 - Chantier urbain
2 - Nocturne
3 - Féria



TRYPTIQUE pour pianos préparés et percussions

Quintet for B flat and E flat Clarinets [simultaneously], oboe, scordatura harp and percussion [1] [4 suspended cymbals, 2 differently pitched large tam-tams, large, deep, resonant bass drum]

This is a studio iteration of an acoustic asynchronous composition. 

Marckus Wenninger - clarinets
Christopher Redgate - oboe
Harp and percussion - members of the Bristol Ensemble

notes: 
The instrumentalists play independently of each other. Music is cued to begin only, with no ‘fixed’ synchronisation between the instrumentalists. Whilst the relationship of each instrument is flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and variability. To this end it is vital that metronome markings are adhered to as accurately as possible although the composer appreciates that it is the various interpretations and practicalities inherent in the realisation of tempi that contribute to the richly unique nature and interplay of each performance.

There is only one instructions to the players; to begin together and play until their material is finished.

Compositional material is [largely] derived from a series of distant variations that unify all sections with thematic landmarks. Thematic material is audible throughout the piece, bringing cohesion and structure to the work. All the instrumental roles are written to a high degree of virtuosity and most contain extended techniques and quarter-tones. The music itself [through the simultaneous bringing together of these individual parts] forms dense, highly complex and constantly changing relationships that are frequently wild and sometimes beautiful.

The score and parts
I have not produced a score for these pieces; difficulties and variables associated with displaying the musical material in vertical alignment as represented in real time are considerable. Each performance will yield different results, interplays, gestural and harmonic references and outcomes. As a result, the material contained within the pieces can only be read via the instrumental parts. Consequently here is no definitive performance of these pieces.

Title:
“And I must borrow every changing shape
To find expression ... dance, dance
Like a dancing bear,
Cry like a parrot, chatter like an ape.
Let us take the air, in a tobacco trance” 

― T.S. Eliot, Prufrock and Other Observations

and I must borrow every changing shape

AutorYno (2013) - Wroclaw (@320CBR)

Aya Nishina - Flora (MocloVe Remix)

A gentle exploration of multiphonics utilising newly researched multiphonic fingerings from Sarah Watts PhD studies. 2012

Strange Loops, for chamber orchestra and electronics

AdamRobertsComposer