A long warming up ratcheting sound before the full on stridulation

Dymmelonsdag is by all right the official day of the low pass gate. Deerhorn is muffled by the Shallow Water.

Dymmelonsdag

Please, use headphones or good loudspeakers.

The purple fuchsia bled upon the ground. (2023–24)
Commission: Westdeutschen Rundfunk & Wien Modern

Live Recording: Pierre-Laurent Aimard & WDR Orchestra (cond. Elena Schwarz), 12 May 2024, Cologne

Photo: WDR/Holger Talinski

The purple fuchsia bled upon the ground. (2023–24), for piano and orchestra

Skies

co-commissioned by the SWR Symphonieorchester and the ELISION Ensemble 
dedicated to Robin Kirkham

premiered by the SWR Symphonieorchester and the ELISION Ensemble at the ECLAT Festival, February 2, 2024

conducted by Brad Lubman

For Seed I:
Peter Veale, baroque oboe
Carl Rosman, 3-key baroque clarinet in D and basson de chalumeau
James Aylward, baroque bassoon 
Alex Waite, harpsichord

For Seed II:
Christoph Grund, piano
Ursula Eisert, harp
SWR Symphonieorchester

Not intended as a concerto, Das Phonem zwischen zwei Wörtern (b) is composed in two different tunings for two interdependent pieces, which can be performed together or as two stand-alone works. Written for baroque ensemble and large orchestra, this work is the second part of a three-part cycle, which engages with a multidimensional study on timbral and harmonic spaces, intended to offer an approach for re-thinking how discrete mappings of a given tuning can be re-imagined simultaneously within continuous terms.

In this work, the piece engaging with the large orchestra was written in 443Hz and composed in relation to a 3D acoustic model that I designed based on architectural structures that are no longer standing — namely the 6th-century Basilica of St. John in Ephesus and the Church of the Holy Apostles in Constantinople. Rather than for simulation or a fixed point of observation, this approach to 3D modeling was activated to develop sonic-temporal architecture emerging from two spaces, as a way to visualize and re-imagine what lies in-between, through which embodied spaces of the pasts that have been erased become visible through corporeal reach and sound.

This cycle brings together collaborative research initiated in parallel with the study informed by the 3D modeling. Initiated in 2022, this research is based on numerous sessions conducted with Peter Veale on performing baroque oboe and modern oboe; Carl Rosman on performing 3-key baroque clarinet in D, modern clarinet in Bb as well as basson du chalumeau and modern bass clarinet; James Aylward on performing baroque bassoon and modern bassoon; and Alex Waite on performing harpsichord and piano.

Written in 415Hz, the piece composed for the “baroque ensemble” is informed by this research, and correspondingly engages with instrument design and its relation to body and space, not as means to arrange a fixed past with a fixed present, but rather to trace how coeval pasts inform contemporary performance praxes, while also unpacking the conditions surrounding how instrument design relates to embodiment and space.

Activating interrelationships of sound, space, and corporeality as a mode of unlearning, Das Phonem zwischen zwei Wörtern (b) in its simultaneity is therefore an effort to take account for what may be not rendered visible, but is nevertheless present in space, and to address traces of multiple pasts not just in relation to the conditions of what remains, but also to the conditions of erasure.

Das Phonem zwischen zwei Wörtern (b), for baroque ensemble and large orchestra

On the far end of our garden we have two spruce trees. An Icterine warbler (Hippolais icterina) started singing on the first tree at 7.15 am. Meanwhile there were two Eurasian collared doves on the second spruce. A few moments later, the latter began singing too, and delicately accompanied the song of the Icterine warbler.
 
Unfortunately, our garden is usually very noisy. However, this Spring morning was unusually quiet. I had previously never heard an Icterine warbler singing in our garden. Luckily I had some recording equipment close at hand.

Date: 6. 6. 2024
Time: 7. 15 - 7.30 am
Place: Židlochovice
Equipment: Telinga parabolic dish

Icterine warbler in my garden

Recorded with a SASS on a cold winter night. Ice melting and falling from the trees in the background. This was recorded as part of a 3 week period of wolf observation and tracking, following their trails through the forest and snowfall, and after a while I understood their habitats and movements. This recording is made in the heart of their territory, where they regularly pass through.

Wolf Howling at Dusk - January 2025

Really close wolf howl - January 2025. SASS. 

Wolf Recording 13th Jan 2025. 18:39

And The Earth Finally Took You Under

And the Earth Finally Took You Under

On a bright and sunny mid-March day, the pond is warming up with sounds.
This is my most detailed recording of Corixa punctata (aka Lesser water boatman) to date.

Can the Lesser and Greater families be told apart through sound alone? Please let me know. What seems clear is that it is possible to discern between some lesser varieties, as demonstrated by Marco Presente in this recording:
https://soundcloud.com/marco-pesente/micronecta-sp-lesser-water

**The sounds get really loud and right at the peak of the Fletcher-Munson curve so please take care of your ears**

Species: Lesser Water Boatman (Corixa punctata)
Location: Middle Spernal, Warwickshire, UK
Date and time: 19 March 2025, 13h30
Habitat: Freshwater pond, wetland

Gear
Aquarian Audio A5s, Zoom F3

Water Boatmen

Please, use headphones or good loudspeakers.

vacant lot (strange bird) (2023), for large amplified ensemble
commissioned by Ensemble Intercontemporain

Live Recording, Klangforum Wien

vacant lot (strange bird) (2023), for large amplified ensemble

Live performance as part of TIME AS A SONIC GESTURE - a durational concert for headphones by Jacqui O'Reilly.

The very start of the recording features a live variation on first track (The Frequency of a Leaf) off my forthcoming album.

From Jacqui "The concept for Time as a Sonic Gesture, emerged in response to Katelyn Geard’s work, I Have Something to Say, (exhibited in GRAPHITE, at DRAW Space, April 2024). This work was described as a drawing ‘soft as a whisper’ in its reach beyond two dimensions.  Time as a Sonic Gesture plays with this notion of persistence of vision, to instantiate time as a trans-disciplinary gesture of collective presence in the making and sharing of art. Throughout the evening local guests artists Laura Altman and Alexandra Spence will improvise with O’Reilly and play solo, to unfold an experimental and immersive soundscape performance."

TIME AS A SONIC GESTURE is curated by Belinda Yee (@belindayee) as part of an ongoing series of performances looking at the relationship of drawing to sound. Photography by James Peter Brown.
https://drawspace.org/past-exhibitions-and-events/jacqui-oreilly

Live at DRAW Space March 2025

Hi! I'm Ángel, Sound Artist and Field Recordist. My inspiration is the natural world. I run SoundArk. offering Audio Production and Post-Production services. I'm based in the United Kingdom, and have been lucky to travel the world through my trade.

www.soundarkstudios.com
angel@soundarkstudios.com
 
#SoundDesign #FilmSoundDesigner
#FieldRecording #WildlifeSound #WildlifeSoundRecording #SoundEffects #AudioPostProduction #LocationAudio #LocationSound #Filmmaking #GameAudio

Water Boatmen

SoundArk. | Ángel Pérez Grandi

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SoundArk. | Ángel Pérez Grandi

SoundArk. | Ángel Pérez Grandi

SoundArk. | Ángel Pérez Grandi

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