CBH T-80: Trio for Clarinet-Bass Clarinet and Harp

This New LIVE recording features the Kalamazoo Philharmonia under the direction of Andrew Koehler. The bassoon soloist is Jason Kramer. The performance took place on the campus of Kalamazoo College during a concert honoring the legacy of Aaron Copland.

This is the orchestration of the Bassoon Sonatina for bassoon and chamber orchestra. Its a very exciting piece cast in 3 movements with nice technical and lyrical challenges for the player.

CONCERTINO for Bassoon and Chamber Orch. [NEW LIVE RECORDING]

FOR REASONS UNKNOWN
French Horn Quartet
Matthew Lee Knowles
2025


Play once as written, then repeat, permanently removing a single note from any part
Keep repeating and removing until the 80th section contains only one note
An average performance will last 67 minutes
Each section should have a randomly chosen MM between crotchet=30 and 300
This realisation is only one of a potential 10^311 unique performances which would take 10^307 years to hear in full

In Lucky's speech in Beckett's "Waiting For Godot", the phrase 'For Reasons Unknown' is spoken ten times. 


SCORE
https://www.youtube.com/watch?v=NlHdtsJGjHk

For Reasons Unknown

Petite Variations (after Kurtag) Piano Version 8-8-25

This is my fourth symphony, and I am using new software that sounds better. The new software is not microtonal friendly, therefore, there will be two versions: standard and poly microtonal. This version is in 12tet and it is still highly polytempic. Each choir of the orchestra is moving separately in Fuxian contrapuntal motions, such as, contrary, parallel, similar and oblique, with respect to tempi changes in the choirs.

Another fact about this piece is that it uses many fragments of Gregorian chant from the Liber Usualis and is scattered throughout the single movement piece. The chants are of various lengths and are brief. The form could be considered a type of "variation" form; even if the chants are not literally repeated, they do act as a type of chaconne, over which the symphony plays and explores.

As of today, Sep. 4th, 2025, a finished mix is uploaded and will remain the finished midi version of this piece in 12tet using NotePerformer.

Symphony IV: melodiae perpetuae in polytempic polytonality

Ｔ　Ｒ　Ａ　Ｍ　Ｐ　Ｅ　Ｌ　Ｆ　Â　Ｄ

is LCEEM

Laboratory for Contemporary Electronic Experimental Music [LCEEM]

rec.name: " Moiré Patterns Music  "

credit :plugdata ,ipad 9

Support us :
aleatoric music compositions at:
trampelfad.bandcamp.com

date: 22.08.2025
Video Link :
https://www.youtube.com/watch?v=WrgfeTpd978

great Milton Babbitt
https://www.youtube.com/watch?v=FfA470WVHws

LCEEM Sound Moiré Patterns  Synthesizer

Fantasy for Alto Flute, Bb Clar and Cello

Organ: Kerstin Petersen; sound engineer: Andrew Levine http://mobile.blumlein.net
STOP, for organ (2025)
The raw material of the piece is a standing 12-tone cluster whose notes are distributed across the entire tonerange of the instrument. The material also represents the medium within which the form emerges as a process.
As in Schoenberg's orchestral piece "Farben", the timbre is the only factor in which movement takes place. In the first third, the basic color is mixed by a slow fade-in of 12 registers. In the middle section, individual notes are exchanged between the manuals one after the other, with both the pitch structure and the registration remaining unchanged; thus, only the relationship between the octaves within the cluster changes. In the last third, the registers are pushed back one after the other.  
The piece is a model of a plastic process. The form here is not the music, but the bare sonic shape. The music is, at most, the background against which this process takes place.

Silence of the Airwaves

Allan Segall

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