The vibes are incredible on this one :) I felt really immersed before the halfway point. Felt like an acoustic Autechre (compliment), but then some electronic sounds got in there in a way that felt organic and natural too.

reversed ghost 3

In considering a work for solo flute, I was drawn to the interaction between metal and air. This led to a further fixation with pollution; and the idea of creating conversation between air masses, and the “dirt” inside of them. Considering air’s dense chemical makeup, I was curious to research microscopic happenings inside of mass.
The decision to create a “microphone controller” line stems from an interest to converse directly with air. Within the airstream, the microphone controller sculpts angles inside the mass; shifting the “pollution,” creating conflict and interactions.

Sarah Steranka, flute

pollutant, a miniature for flute, airstream, and microphone controller

**live recording**

Salim Javaid - saxophone
Shiau-Shiuan Hung - percussion
Marlies Debacker - piano

trioabstrakt.com/

2023

[Nues] Hestia / to dwell, stay

The third of movement of 'Three Pieces for Electric Kantele in Just Intonation' (2009). Emma Kuntsi at her graduation recital, Sibelius Academy, Finland, Apr 23, 2016. Special kantele with the following 21 pitch classes (1/1 = C): 1/1, 25/24, 27/25, 9/8, 75/64, 6/5, 5/4, 32/25, 125/96, 4/3, 25/18, 36/25, 3/2, 25/16, 8/5, 5/3, 125/72, 9/5, 15/8, 48/25, 125/64. Fifth-tones ('diesis') abound, and septimal intervals, such as 7:4 and 7:6, are approximated by 5-limit intervals, making use of the 225/224 comma. 

[Nues] Hestia / to dwell, stay

Anthony J. Stillabower

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