A recent piece from this old cycle of mathematical music, originally conceived in 2003. This is a stereo reduction of the 4-channel original, in which the 12 "virtual percussionists" form a regular dodecagon around the audience. Matrix Nº 6 is dedicated to fellow composer and performer Michelle Agnes.

Matrix Nº 6, in 7/8 (from "12 Matrixes for Virtual Percussion") (2003/2009)

The title came to me after the fact, listening back and having the music remind me of an old news story about that strange exoplanet HD 189733b.  Borrowing a trope from Debussy, I've put the whimsical image in parentheses, as I myself always feel suspicious of music that actually comes with cosmic pretensions.  And thoughts I can have here on earth.

The main idea consist of exploring complex chords, broken with notes distributed *statistically* like notes forming a harmonic overtone series.   So while I use the equally tempered scale and no just intervals, the chords meld in a sonic and not merely harmonic manner.

(Just The Thought Of A Place Where It Rains Molten Glass), for piano

"Signes émergents" (Emerging signs) by Mario MARY
Electroacoustic work on 8 tracks, commissioned by GRM. 2003, 15 min. 
First Prize Bourges (France) 
First Pirze Pierre Schaeffer (Italy) 
Public Prize CIMESP (Brazil)
selected for the ICMC (Sweden)

Signes émergents - Mario Mary

Paul Wegmann - Guitarra elétrica
Santiago Beis - Sopros, piano/teclado
Pedro Mila - Percussão

Si Será, no lo Sé

Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around)
     i. a dirty prelude to get started 
     I. “Virgin” Mary (52'')
     II. Mr. Saint Nice Guy (3'26'')
     III. Uomo in disguise (6'14'')
     IV. Revelation: wave-crushed stones and primitive despise (8'12'')
     ii. interlude: OMFG have mercy on us (9'22'')
     V. Amma in the skies (11'3'')

Commissioned and premiered by Nordic Affect in Skálholtskirkja on August 5th 2018. Recorded by the Icelandic National Broadcasting Service.

Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around)

extract from RS053 available now http://evilmoisture.free.fr/rs

plays Zombi Holocaust

Fog Antenna "plays Zombi Holocaust"

Premiered by Will Yager at the University of Iowa Laptop Orchestra Concert in the  Voxman Opera Studio on 12-03-2018. Studio recording completed on 12-13-2018.

Program Note -

La petite divagation explores three-part developmental trajectories that are diffused across linearly interpolating sections which occur in a sequential order (e.g. a, b, c, a', b', c', etc...). These sections are unified through their shared primordial pitch material. The A section(s) comprise fixed electronic sounds that disseminate the pitch material used in the subsequent instrumental sections as a sound mass, the B section(s) use an expanding subset of pitches in a restricted register with constantly permuted rhythmic cells, and the C section(s) use a subset with fixed cardinality that gradually morphs into its complement while simultaneously shifting in register. The instrumental material of the B and C sections is processed and spatialized according to analogous linear structural procedures.

La Petite Divagation For Double Bass And Electronics - 2018

Read by the University of Iowa Center for New Music on 2-26-2019

Program Note -

Seed-Turbulence-Iteration explores the application of chaos theory and fractal geometry onto the musical parameters of a work constructed for chamber orchestra. Verhulst's Logistic Map and Devaney's Gingerbreadman Map are the dynamic systems from which melodic contour and temporal duration are derived. These algorithms are used to produce heterophonic and polyphonic results that iterate for a set duration before restarting. Each new beginning involves a change in density (of individual lines, as well as points of articulation in time), orchestration, register, and the pitch reservoir. All pitches are derived from quantized spectra that interpolate from a state of harmonicity to inharmonicity on top of changing fundamentals. Each stage of interpolation coincides with the reseting of algorithmic iterations. Self-similarity and self-affinity are represented vertically, in the family resemblances of the lines produced within each algorithm that occur inside of a given segment, as well as horizontally, in the reiterations that occur over time. Each algorithmic reiteration and each copy within a set of iterations has varied starting or “seed” conditions that produce differentiated results of greater or lesser degrees which are presented in non-linear, strategic arrangement.

Seed-Turbulence-Iteration For Chamber Orchestra - 2019

Sal (Salt)
Electroacoustic work - 9'11'' - 2016 
Realized at the CMMAS (Mexico) thanks to a residence of Ibermúsicas.
First Prize SIME 2017 (France)
Prize Exhibitronic 2016 (France)
Mention MA/IN 2016 (Italy)

This piece continues the aesthetic expolrations using personal techniques of composition that I call Electroacoustic Orchestration and Polyphony of the space, but in this case with limit auto-imposed of the stereo format. The overall character of the work is vital and energetic with a particular swing. The form of the composition is complex but can be summarized in two large sections abundantly articulated. In two moments the music seems to freeze, creating an unexpected contrast with the rest of the musical discourse, but the tension does not decay due to the created expectation. During its composition in Mexico, an extra local musical element impregnated the spirit of the work: "the salt of worm". Both salt (and condiments) and the worm (and other insects) occupy an important place in the Mexican ancestral culture, hence the title of the piece.
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Fff

Andrew Sharpley

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