Uri Kochavi/ Relics of Movement- Wet Ink Ensemble
For five instruments, amplified objects and electronics.

* Recorded at the Computer music center at Columbia University 
 May 9th, 2021
Audio Engineer- David Adamcyk
Mix- Uri Kochavi

Wet Ink:
Josh Modney- Violin
Marielle Roberts- Cello
Laura Cocks- Flute
Erin Rogers- Saxophone
Vicky Chow- Piano

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“If a bird were to paint, would it not be by letting fall its feathers, a snake by casting off its scales, a tree by letting fall its leaves?...let us not forget that the painter's brush stroke is something in which a movement is terminated.”  Jacques Lacan, seminar XI.
 
Relics of movement is an exploration of sonic traces, of the ability to experience relics of past movements in present time. It is my attempt to deal with the notion that temporality is always fragmented in the individuals’ experience of a narrative, and with the sense that history is experienced as (a) past only insofar as it is constantly historicized in the present.
Materials do not ever really end, but rather resurface in a fragmented manner, passing freely between the acoustic and the electronic, the instrumental and the objectal. 
Instruments are objectified and objects are instrumentalized as something is constantly materializing, coming into being.

Relics of Movement- for five instruments, amplified objects and electronics

LLAOR (2022), for feedback violin and live electronics.
Arnau Brichs, live at the Fundació Joan Miró, Barcelona.

Get album here: https://polsfura.bandcamp.com/album/presence-101-2

Watch video here: https://www.youtube.com/watch?v=94nXpbovCsI&feature=youtu.be

LLAOR - ARNAU BRICHS [003]

Royal Academy of Music Symphony Orchestra - 18 January 2024

In the Forests of Human Hearts - Large Orchestra

This piece celebrates the sounds of clocks, from the tiniest whirring of the bedside alarm clock to the grandest tower chime, through an exploration of these sounds' similarity to sounds of liquid. It has been meticulously constructed from tens of thousands of very short clock recordings, often aggregated at high density to produce gestural shapes that last sometimes only one or two seconds.

Its composition was made possible by the Dias de Música Electroacústica artist-in-residence program, and it premiered in November of 2016 at the Ecos Urbanos festival in Mexico City.

Clock Waters

Sinking Air (8:06) is inspired by the sudden downdrafts in rainstorms that are sometimes called microbursts.

Sinking Air received the Premier Prix Monaco Electroacoustique (2015), and performed at the Monaco International Electroacoustic Festival, CICEM, Acousmonium 42-channel, Theatre des Varietes, Monaco Electroacoustique, Academy Rainer III, Mario Mary Artistic Director.

Sinking Air (2-channel downmix)

Rolf Hind, piano
-
Premiere: 22/04/2018, Occupy the Pianos Festival @ St. John's Smith Square, London [Call for Scores Winner]
Catalan Premiere: 08/08/2018, Arnau Brichs @ 47th International Music Festival of Cadaqués

La Coïssor (2018)

for Percussion Duo and Orchestra.
Recording performed by Christian Dierstein, Dirk Rothbrust and the Rundfunk Symphony Orchestra, conducted by Enno Poppe at Ultraschall Berlin, January 2018.
Commissioned by Westdeutscher Rundfunk and Wien Modern
First performed 10 May 2014, Witten Days for new Chamber Music Festival, by Christian Dierstein, Dirk Rothbrust and the WDR Symphony Orchestra, conducted by Peter Rundell

View score -  https://issuu.com/editionpeters/docs/ep_14042_saunders_void_score_pcl

Void (2013-14)

Fondali (for 8 instruments with electronics, 2019 - Casa Ricordi)
19.03.2019 @ Freies Atelier Schaumbad, Graz
Schallfeld Ensemble, Leonhard Garms (cond.) - WP
Live recording / Sound director: Davide Gagliardi
Mix & master: Francesco Ambrosini

commissioned by Schallfeld Ensemble
with the financial support of Ernst von Siemens Musikstiftung

Fondali (2019)

Comment les sons s'écoulent.
Comment les sons découlent, les uns des autres.
Comment les sons s'écoulent-ils les uns dans les autres.
comment un son, d'abord contenu, peut-il se déverser
Et nous offrir une surface
Sur laquelle nous pourrions pratiquer divers sports.
Comment une corde pincée pourrait-elle devenir
Le support mouvant de nos déambulations

pièce instrumentale pour 14 musiciens:Clarinette Basse; Contrebasson; 2 Trombones Basses; 2Timbaliers; Harpe; Piano; 2 Altos; 2 Violoncelles; Contrebasse)  
joué au CNSMDP par les étudiants
enregistré par le service audio visuel

Comment les sons s'écoulent

Composer of acoustic and electronic music, based in Barcelona.

La Coïssor (2018)

Arnau Brichs

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