Where the Two Seas Meet? (2010)

Five Forest Studies, pour piano et orchestre (2021-2022)

Marie-Ange Nguci, piano
Georg Köhler, direction
Orchestre national d’Île-de-France

Enregistré le 1er juillet 2022 à la Philharmonie de Paris (Studio)

Photo : Yasuo Kiyonaga, Spirit of Forest 47560 (2022)

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Five Forest Studies, for piano and orchestra (2021-2022)

Marie-Ange Nguci, piano
Georg Köhler, conductor
Orchestre national d’Île-de-France

Recorded on July, 1st 2022 at the Philharmonie de Paris (Studio)

Picture: Yasuo Kiyonaga, Spirit of Forest 47560 (2022)

Five Forest Studies, for piano and orchestra (2021-2022)

BREAD [2021], from "interbeing"

score: www.wubbelsmusic.com/bread_score.html

written for and performed by TAK:
Marina Kifferstein, violin
Laura Cocks, flutes, wine bottle
Madison Greenstone, clarinet
Charlotte Mundy, voice, wine glasses, beer bottles, autoharp
Ellery Trafford, mixing bowls, beer bottles, wine glasses, autoharp

BREAD [2021], from "interbeing"  (w/ score)

Oboe - Christopher Vettraino
Cello - Adrian Brendel
Violin - Magdalena Riedl
Viola - Gordon Cervoni

"Entre-Deux" for oboe and string trio (Live at Wigmore Hall - Nash Ensemble Side by Side)

for contrabass solo

Dario Calderone, contrabass
live recording, la Biennale di Venezia 2014

Docile ascesa

“Le nubi non scoppiano per il peso” 
for 9 musicians, soprano, computer-controlled water drops and electronics

Ensemble Court-Circuit, Omo Bello, Jean Deroyer 
Oslo Ultima Contemporary Music Festival 11/09/2011


The text :

"Who cuts a channel for the torrents of rain, and a path for the thunderstorm, to water a land where no one lives, an uninhabited desert, to satisfy a desolate wasteland and make it sprout with grass? Does the rain have a father? Who fathers the drops of dew?"
The Book of Job, chapter 38

To the eyes of the unknown authors of the Book of Job, the creation appears as an indecipherable enigma. The only one who knows its laws is the engineer who establishes the weight of the wind, who counts the clouds in the sky and apportions the water by measure. And these laws seem to have no consideration for man; there is no punishment or compensation for his behaviour. Rain falls in the desert too, on a land that nobody harvests. Disgrace befalls on the righteous and the unrighteous alike.
The long, scoffing reply that God gives to Job’s relentless existential questions (a short excerpt is sung in the piece) is itself composed of questions, almost suggesting that, as Wittgenstein wrote: “when the answer cannot be put into words, neither can the question.”
“Le nubi non scoppiano per il peso” deals with heaviness and fall, and with measuring what seems to have no measure.

The piece is dedicated to my parents.

“An altar begins where the sense of measure ends. Being a saint means losing control, giving up weight, and weight is organizing one's own dimension”
Carmelo Bene, Our Lady of the Turks

Work commissioned by Ensemble Court-Circuit and by “Integra - Fusing music and technology” a EU-funded project led by Birmingham Conservatoire (UK).

The dripping device is inspired by the installation Dripper01 by Arno Fabre (who has kindly shared his know-how) and has been built by Simon Cacheux. A special acknowledgment to Thierry Coduys who supervised the early stages of its construction.


Mauro Lanza - "Le Nubi non Scoppiano per il Peso" (2011)

Ensemble Intercontemporain 2015
Philharmonie de Paris

05 Snowstorm

Premiered during Wien Modern Finale Concert on December 1st, 2017 at Vienna, Austria.

"Landschaftsmalerei 1" for Grand orchestra (2017)

I learned not to fear infinity,
The far field, the windy cliffs of forever,
The dying of time in the white light of tomorrow,
The wheel turning away from itself,
The sprawl of the wave,
The on-coming water.
(Theodore Roethke)

Tundmatuis vetes / In Uncharted Waters (2018)

Life After Architecture -Love (2019)
pour piano à quatre mains. Musique écrite et semi-improvisée dediée à l'oeuvre de Superstudio.
Dur. 07:30
Commande du FRAC-Centre (Musée d'Architecture Contemporaine d'Orléans)>
Création/enrégistrement vidéo: Imma Santacreu, Hèctor Parra, piano. FRAC-Centre, petite Turbulence, 27.05.2019
Enregistrement audio: Yoann Le Gruiec

Life After Architecture -Love (2019). Imma Santacteu, Hèctor Parra, piano.

El Puerperio (for piano or two pianos. Four or eight hands)

Andrea Balency-Béarn is a contemporary music composer based in London, UK, where she is currently pursuing a PhD in Composition at the Royal Academy of Music.

Born in Paris and raised in Mexico City, she has written music for varied ensembles and her work has been performed internationally. Her studies in composition began in Buenos Aires at the Conservatorio Manuel de Falla in 2007, after which she started touring as an alternative and electronic music performer for several years. During that time, she collaborated with a variety of artists across genres and disciplines and took part in collaborative residencies. She began working as a film composer in 2020 and is currently studying a PhD in composition at the Royal Academy of Music under the supervision of Dr. Rubens Askenar. 

Besides her career as a composer, she performs as a member of UK electronic music band Mount Kimbie.

"Entre-Deux" for oboe and string trio (Live at Wigmore Hall - Nash Ensemble Side by Side)

Andrea Balency-Béarn

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