To Listen

New Music Unlisted 6

The Rest

Frere Jacques

Torrente for violin and guitar
Daniel Alvarado Bonilla - 2021
(including J.S. Bach - Adagio from Sonate in C, BWV 1005)

Odradek Duo
Andria Chang - Violin
Julián Restrepo - Guitar

This piece was written in memory of my friend Samir Alejandro Yahuar (1984-2021).

Torrente

Bestiario pour guitare, piano et trio a cordes
Daniel Alvarado Bonilla (2019)

Commande de Radio France pour l'émission "Création Mondiale".
Score published by : Babel Scores 
https://www.babelscores.com/fr/DanielAlvaradoBonilla

-I. Enérgico
-II. Calmo, nocturno
-III. Fluído, alucinatorio
-IV. Calmo, misterioso
-V. Contínuo, como una toccata

Ensemble Almaviva
Pablo Márquez - guitar
Ezequiel Spucches - piano
Ana Millet - Violon
Lucía Peralta - Alto
Louis Rodde - Violoncelle

Enregistrement fait à la Seine Musicale (Boulogne Billancourt) le 12 septembre 2020.

Bestiario

Low-fi delirium for alto flute, bass clarinet, vibraphone and electronics
Daniel Alvarado Bonilla - 2022
Œuvre commandée par l'Ensemble Sillages et l'Ensemble der/gelbe/klang, avec le soutien du Ministère de la Culture - DRAC Bretagne. 

Julie Brunet-Jailly - alto flute
Hugo Clédat - bass clarinet
Jean-Baptiste Bonnard - vibraphone

Recorded by engineer Alexandre Chaigne at Music Unit Studios (Montreuil, France)

In Low-fi Delirium, most of the electronics consist of sounds that come from real "vintage" keyboard instruments such as the mellotron, the optigan and the Rhodes electric piano. In some ways this piece pays homage to the psychedelic music and delirious times of the sixties. 

The sounds of these analog instruments have always inspired me since I was a teenager and I have always thought of using them outside of their usual musical context (that of rock, pop or jazz). Although nowadays there are very powerful digital keyboards and softwares created to simulate these instruments, there is nothing, in my opinion, like the real machines – with their charming flaws and their analog sound qualities. The mellotron is an instrument in which each key triggers the playback of a magnetic tape which contains a real pre-recorded instrumental sound. It is in a way the analog ancestor of the digital sampler. The mellotron's pre-recorded sounds have a rudimentary "cheap" and almost “kitsch” sound quality. It is precisely this characteristic which, in my opinion, gives the mellotron its charm and potential! I wanted to use these sounds in order to establish an interaction, a dialog with the three acoustic instruments. This is how each instrument of the ensemble will be enlarged by its mirror or by its "low-fi" electronic alter ego. The pre-recorded mellotron sounds will be the electronic doubles of the wind instruments, while the bell or celesta type sounds of the Rhodes will weave a link with the vibraphone. Alongside these electronic instrumental sounds there are other “vintage” and “concrete” vinyl crackle noises, old clocks ticking, radio interferences...

Low-fi delirium

On the 24 November 2003, Martyn Bennett supported Peter Gabriel at a one-off concert at the Brighton Centre. His eclectic, innovative and powerful DJ set that night was sadly Martyn's final live performance before his untimely death in 2005. You can hear that extraordinary performance here now.

For more information in the re-release of Martyn's album GRIT and the forthcoming theatrical production about his life and work go to:  http://realworldrecords.com/grit

Martyn Bennett DJ Set (Brighton 2003)

'Europa Hymn' is the first track off of ‘MG’ - Martin Gore's new 16-track electronic instrumental album - out now on Mute. #MGxMG

BUY MG:
Digital- http://po.st/MGiTunes

MG ONLINE: 
http://www.martingore.com
http://www.facebook.com/MartinGore

‘MG’ TRACKLISTING
Pinking
Swanning
Exalt
Elk
Brink
Europa Hymn
Creeper
Spiral
Stealth
Hum
Islet
Crowly
Trysting 
Southerly
Featherlight
Blade

MG - Europa Hymn (Official Audio)

“I Am The Blaze on Every Hill” is taken from Spiro’s forthcoming new album “Welcome Joy and Welcome Sorrow” which will be released on 13 April 2015 on Real World Records.

Available for pre order now:
Real World: http://bit.ly/1NDwfOi
iTunes: http://smarturl.it/Spiro-WJWS
Amazon: http://smarturl.it/Spiro-WJWS-AMZ

This music of many-layered depth is produced with just four instruments at any given moment. Jane Harbour (violin/viola), Jon Hunt (acoustic guitar/cello), Alex Vann (mandolin) and Jason Sparkes (piano accordion/piano) break through the boundaries of their instruments and play them in unconventional ways to create music that has variously been called “dazzling", "magnificent", "intense and minimal", "soulful", “passionate" and "breathtakingly moving”.

The title of this particular track is a line from The Song of Amergin, from the Robert Graves work The White Goddess. 

"Amergin was the bard of an early race of Gauls called the Milesians. It's an invocation they offered when they were about to invade Ireland and were hit by a massive storm, following which the sea became calm."

Spiro - I Am The Blaze On Every Hill

Speaker(s): Professor Chang-Tai Hsieh, Professor John Sutton | This panel of experts will explore the strengths and pitfalls of China’s growth model and the lessons for African industrial development. The event will be opened the Rt Hon Desmond Swayne (@DesmondSwayne), Minister of State for International Development. Chang-Tai Hsieh is Professor of Economics at the University of Chicago Booth (@ChicagoBooth). John Sutton is the Sir John Hicks Professor of Economics at LSE. Dr John Page is Senior Fellow of the Brookings Institution (@BrookingsGlobal), IGC Country Director (Tanzania) and former Chief Economist for Africa, World Bank. The International Growth Centre (IGC) (@The_IGC)  aims to promote sustainable growth in developing countries by providing demand-led policy advice based on frontier research. The IGC directs a global network of world-leading researchers and in-country teams in Africa and South Asia and works closely with partner governments to generate high quality research and policy advice on key growth challenges.

Industrial Development – China and Africa [Audio]

Los Senderos se Bifurcan pour violoncelle et grand ensemble
Daniel Alvarado Bonilla - 2016

Cameron Crozman - Violoncelle
David Reiland - Direction
Orchestre des Lauréats du Conservatoire
Enregistrement Live / CNSMDP Salle d'Art Lyrique - 4 Octobre 2016

Dans Los Senderos se Bifurcan, la forme concertante m'a permis de travailler pour la première fois sur l'interaction, l'opposition et la convergence entre le soliste et l'ensemble instrumental. La structure de l'œuvre s'articule autour de quatre mouvements qui s'enchaînent. L'ensemble anticipe le matériau exposé par la ligne du soliste ou crée une sorte de réponse/conséquence à celui-ci. L'univers sonore du violoncelle est alors élargi, voire multiplié par le groupe instrumental. De même, l'ensemble peut établir une situation d'opposition, prenant un sentier différent et contrastant. En dehors de ces idées strictement formelles, il y a eu d'autres éléments qui m'ont accompagné pendant le processus (labyrinthique) de la composition de l'œuvre : la lecture de Borges, le chant d'oiseaux de la colline de Montjuïc à Barcelone, ainsi que le souvenir de mon grand-père, Ricardo Alvarado Pantoja (1928 – 2016), à qui cette pièce est dédiée.

Los Senderos se Bifurcan

Dancefloor dynamite straight from Cape Verde....

Synthesize the Soul: Astro-Atlantic Hypnotica from the Cape Verde Islands 1973 - 1988

Val Xalino - Danca Danca T'Manche

A special daytime talk by celebrated speculative fiction author  Neal Stephenson on the occasion of his just released novel "SEVENEVES". After a reading, Long Now co-founder Stewart Brand joins Neal to discuss the research and writing of the new book, plus a little bit about what is coming next.

"Seveneves at The Interval" was given on May 21, 02015 as part of The Long Now Foundation's “Conversations at The Interval” Salon Talks. These hour long talks are recorded live at The Interval, our bar, cafe, & museum in San Francisco. Since 02014 this series has presented artists, authors, entrepreneurs, scientists (and more) taking a long-term perspective on subjects like art, design, history, nature, technology, and time. To follow the talks, you can:

Subscribe to our podcasts: http://longnow.org/seminars/podcast
Explore the full series: https://theinterval.org/salon-talks
More ideas on long-term thinking: http://blog.longnow.org

The Long Now Foundation is a non-profit dedicated to fostering long-term thinking and responsibility. Our projects include a 10,000 Year Clock, endangered language preservation, thousand year+ data storage, and Long Bets, an arena for accountable predictions. 

Become a Long Now member to support this series, join our community, and connect with our ongoing work to explore and deepen long-term thinking: http://longnow.org/membership

Like us on Facebook: https://www.facebook.com/longnow
Follow us on Twitter: https://www.twitter.com/longnow
Subscribe to our channel: https://www.youtube.com/longnow

Conversations at The Interval

Support this Series

SEVENEVES at The Interval — Neal Stephenson with Stewart Brand

Totem
pour contrebasse et électronique
Daniel Alvarado Bonilla - 2018

Louis Siracusa - Contrebasse
Enregistrement Live / Centquatre Paris - Festival Manifeste
16 juin 2018

Evocation d’une cérémonie tribale, presque onirique. 
La contrebasse est l’objet rituel. De celui-ci émanent les incantations, des éclats d’énergie et de lumière qui éclairent la nuit ; des rythmes lancinants et des sonorités percussives qui cherchent à nous conduire au paroxysme hallucinatoire.

Totem

obscured-distorted-redacted (2012)
JACK Quartet
Violins: Christopher Otto, Ari Streisfeld
Viola: John Pickford Richards
Cello: Kevin McFarland

obscured-distorted-redacted

KARIAKOO 

I On Congo Str., 11 am

II Hotel Sikukuu, fifth floor, 5pm

III Lullabies Above Pemba Str., (Swahili Nocturne), 3 am

Duration: 38’

Composer/concept: Aurélie Lierman (BE/RW)

Date of Creation: January 2013



“KARIAKOO” is an abstract radio play revealing a sonic impression of an East-African metropolis. 3 seperate movements/acts each representing a specific moment on a summer day in Kariakoo, Dar Es Salaam (TZ).

As a live performance “KARIAKOO” is playing with the boundaries between live radio and electronic tape composition. Limiting the theatrical elements on stage to an absolute minimum: 2 large speakers and 8 (colored) theater lights. 

All is derived from Aurélie Lierman’s personal field recordings made on her first trip to Dar Es Salaam, Summer 2011.




KARIAKOO (PIARS 2013 - 1st Prize - Category Soundscape)

Clarinet in Bb, violin, cello, piano
Live Recording - 5.08.98
SOLI Chamber Ensemble

Crows is dedicated to the SOLI Chamber Ensemble. Inspired by the writings of poet Joy Harjo, each movement is based upon a short excerpt that describes some aspect of life in the desert southwest. These excerpts serve as a starting point for the creation of five musical landscapes:

red earth
My house is the red earth; it could be the center of the world. I’ve heard New York, Paris or Tokyo called the center of the world, but I say it is magnificently humble. You could drive by and miss it. Radio waves can obscure it. Words cannot construct it, for there are some sounds left to sacred wordless form…

clusters
We fly into the body and we fly out, changed by the sun, by crows who manipulate the borders of reason…

silver breaths
I see the flash of silver breaths on the wing of the sky, and hear the explosion of a thousand horses running…

invocation
I think of the lush stillness of the end of a world, sung into place by singers and the rattle of turtles in the dark morning…

drying stone
Invisible fish swim this ghost ocean now described by waves of sound, by water-worn rock. Soon the fish will learn to walk. Then humans will come ashore and paint dreams on the drying stone. Then later, much later, the ocean floor will be punctuated by Chevy trucks, carrying the dreamers' descendants, who are going to the store.

Poetry by Joy Harjo, from Secrets from the Center of the World (Tucson: The University of Arizona Press, 1989) and The Woman Who Fell from the Sky (New York: W.W. Norton & Company, 1994).

In Native American tradition, the crow represents the gateway to the supernatural, possessing the ability to see simultaneously past, present and future. While writing this piece I often wondered how these birds (which appear often in Harjo's poetry) might experience the journey through these musical expanses from their special perspective. 

For additional information, visit: https://www.alexandragardner.net/works/crows/

Crows - 4. invocation

Composer
Curator
Educator
Delinquent
Sad F*g

obscured-distorted-redacted

Amadeus Regucera