This part is a remix of Wire Fence - Rabbit Heugh, a contact microphone recording of a fence. Sounds were generated from midi conversions from the sound spectrum of the  field recording, part of the open :zoviet*france: soundwork "Hidden-by-the-Wall", commissioned by Green Croft Arts as part of its Collision and Conflict project: 

soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix?fbclid=IwAR23eVCF-8yRxJ3BPAw3kh5poKlArMhxfqr8chJf62vwLgqG1_yf2JoEYXo

More on Collision and Conflict:
www.greencroftonthewall.com/collision-and-conflict

The recordings are made available under creative commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) (creativecommons.org/licenses/by-nc-sa/4.0/)

:zoviet*france:  Wire Fence - Rabbit Heugh - Second Harmonic Generation Remix

halbnarr-Mix

Melati - Memori

Collaboration with Thomas Park: A dronescape based on classical creative common recordings in C major.  Sections of different recordings were stretched and recombined including the Generative Soundscape Radio. This is the first of twelve generations as we will continue to walk the circle of fifths.

The following samples were used (sorry for the lack of diversity, we are working on it!): 
Johann Sebastian Bach, Toccata, Adagio, Fugue, transcription by Thomas Knox, played by the U.S. Marine Band, via wikimedia commons.
https://commons.wikimedia.org/wiki/File:Toccata,_Adagio_and_Fugue_in_C,_BWV_564_-_U.S._Marine_Band.ogg  

Ludwig van Beethoven, Piano Concerton No 1 in C major op.15, 1st movement. Bucharest College Orchestra, on musopen
https://commons.wikimedia.org/wiki/File:Ludwig_van_Beethoven_-_piano_concerto_no._1_in_c_major,_op._15_-_i._allegro_con_brio.ogg 

Felix Mendelssohn Bartholdy, Violin Concert e minor op64 MWV O14, 2nd movement, Played by Fulda Symphonic Orchestra, Conductor: Simon Schindler; Violin: Franziska Früh https://commons.wikimedia.org/wiki/File:Felix_Mendelssohn_-_Violinkonzert_e-moll_-_2._Andante.ogg 

 Wolfgang Amadeus Mozart, Concerto for Flute and Harp K. 299/297c, via Al Goldstein archive via ibiblio.org
https://commons.wikimedia.org/wiki/File:Mozart_-_Concerto_for_Flute_and_Harp_-_1._Allegro.ogg

Domenico Scarlatti, Sonata K159 in C, played by Veronica van der Knaap, Christchurch, New Zealand, via wikimedia.org https://commons.wikimedia.org/wiki/File:D-Scarlatti-Sonata-K159-C.ogg 

Franz Schubert, Fantasy in C Major op15 d.760 2nd movement, Piano: Daniel Blanch, on musopen https://commons.wikimedia.org/wiki/File:Franz_Schubert_-_fantasy_in_c_major_op.15_d.760_%27wanderer%27_-_ii._adagio.ogg 

Robert Schumann, Fantasy in C Major op17, 1st movement. Piano: Wilhelm Kempff, Archive.org https://commons.wikimedia.org/wiki/File:Schumann-_Fantasie_In_C_Major_Opus_17-Movement_1-Fantastic_And_Impassioned.ogg 

Richard Strauss, Also Sprach Zarathustra, Introduction, via incompetech https://commons.wikimedia.org/wiki/File:Also_Sprach_Zarathustra_-_Einleitung.ogg 

Antonio Vivaldi,  Concerto for Oboe and Orchestra in C major F7-6 - 2. Movement. Played by the Advent Chamber Orchestra, Edino Biaggi, Oboe; Roxanna Pavel Goldstein, Elias Goldstein. The Al Goldstein collection via ibiblio.org https://commons.wikimedia.org/wiki/File:Vivaldi_-_Concerto_for_Oboe_and_Orchestra_in_C_major_F7-6_-_2._Andante.ogg

Generations Part 1: Ca (Thomas Park Collaboration)

Contracttime

Recording from the world premiere of Anna Berg's piece Accrétion (2021) for choir. 
Written for and performed by Ensemble 96 and conductor Nina T. Karlsen. 
June 7th, 2021, Fagerborg kirke. 

Mastering: Audun Strype

Accrétion (2021)

Commissioned and performed by Prague Quiet Music Collective

Part of a project called 'Five Uncertain Situations' with Prague City Gallery. Exhibition and concert at Dům U kamenného zvonu (Stone Bell House), Old Town Square, Prague in December 2022.

Bass clarinet - Anna Paulová
Baritone electric guitar - Ian Mikyska
Violin - Milan Jakeš
Double bass - Luan Goncalves

Mixed by Juraj Mišejka

This piece was written in response to a set of photograms from Aleksandra Vajd’s The Thirty-Six Dramatic Situations, which features two parallel lines, each changing colour halfway. To me this work is about things in flux, things moving toward or away from something else. In my piece, I am interested in how players might focus on periods of instability and change within and between sounds. By leaving the score more open, I hope to provide more space for the players to follow their curiosity and their ears, to be responsive to the sounds and to each other in the moment. - SL

"Sylvia’s piece is a rare occurrence: a simple, relatively undefined score that does not provide instructions for formal development over the entirety of the piece, yet immediately, the first time we rehearsed it, it was clear that the piece had a clear-cut character and a complex web of internal relationships. The simplicity and directness of Vajd’s photograms is here transformed into a focus on all the chaotic and noisy shadows, interferences, and byproducts that appear when players are tasked with exploring well-chosen, fluctuating effects and various transitions between them. Here, instability is always present at multiple levels — perhaps we could even speak of an interaction between instabilities, a dusty sonic layer covering the simple material play of the photograms." - Ian Mikyska

Overlapping Transformations (2022)

Field recording based composition by Alëna Korolëva, with voice of Eki Shola.

Recorded in marble quarries near Borba, Portugal, October 2022.

Strange but true fact: mining is responsible for nearly half of the world’s economy. The history of mining around the world can be read in the open scars that have been left when the sought after resource has been extracted. In these wounds, often larger-than-life pits abandoned by humans, new forms of life have gathered. Inverted Mountains is a documentary record of one of these spaces. 

Portugal’s Borba Region is rich in marble, 400 pit mines dot the landscape, all but 50 are abandoned. In 2018 a wall of one of the biggest quarries collapsed and buried five people in a landslide.

This track offers a detailed examination of sunset at the bottom of the pit, four years after the accident. Pigeons circle in the lower levels, offering a sound of wings, while starlings and swallows gather near the mouth of the pit, 50 meters above. The natural echoing acoustics of the steep walls allow each bird cry to resonate in a living delay, as if there were thousands not hundreds of birds gathering here. At the very end, the lonely bird song is echoed by a human voice, calling out in a plaintive wordless cry, the ghost of all those whose lives were lost in this forsaken place.

Inverted Mountains

SenSen -  Limb Sins

There are some beats here, just for a change. They are made with some silicone membranes whose normal use would be to cover food bowls. Soma ROAT and Aqusmatiq Dedalus Delay add a little of controlled chaos.

≸ }{ P ͣ }{ 42 °•  ⩨

Original Music : 
https://soundcloud.com/arcondenieze4/orage-gen-1
Done with Karpydiem Max/Msp Patch

ORAGE {gen~ 13} ★ Argile (Senglar Clay Rmx)

Anna Berg is a composer from Kolbotn, Norway, based in Paris.

Berg composes chamber music for a wide range of ensembles, from large ensembles and string orchestras to quartets and duo- and solo works. In addition she has a passion for new music for choir and she also composes electroacoustic works and music for film. Her music has been performed at concerts and festivals in the Nordic countries, among them at Ultima and Ung Nordisk Musikk.

Accrétion (2021)

Anna Berg

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