You know, one of my first works (for winds and piano) started nearly exactly the same way… what a surprise…

Monumental struggle… I can imagine… it's not easy to maintain a complex structure that constantly drives forward! 

We seem to have certain ideas in common, for example the longing for harmonic structures beyond the old-fashioned dichotomy of tonality and atonality… Good work!

@azur3: Thanks for stopping by! I guess I'll go on.

Nothing for a 'quickie' after work here. But one  to return to sure there is much to discover

Dedicated to the Japanese POWs interned in Siberia

Composition, performing and recording: Leonid Zvolinsky

Muffled voice (2022) for acoustic guitar and live electronics

Objets de désir illicites (2019-2022)— fixed media
dedicated to Michèle Gagliano
text and voice — Carmen Diez Salvatierra
( based on 28 formes découpées, Les Presses du Réel, 2019 )
instrument recordings — Madison Greenstone, Alexandria Smith & Kathryn Schulmeister

subtitles programming — NI Shan 
see video version on Youtube (with lower quality sound !)

Objets de désir illicites (fixed media - 2019-2022)

The auto-played piano part is created using spectral analysis of the audio track (aircraft noise, explosion and baby crying) from the video of a warplane attacking a house. The original sound was slowed down from 3 seconds to 4 minutes to make everything discernible and then transcribed for piano. The score was not composed or performed by human: the pitches and rhythms correspond  to the original sound. The dynamics and range are have been edited to make everything audible and emphasize important details.

From the second minute the music drastically changes: a child begin to cry after the thunderous explosion. 

The live-electronics part comes from the piano part enriching it with real-time effects.
All the effects are based on sound taken from the piano by the microphone during the performance, and the changes in the electronics are controlled (also without any performer) by a pre-written algorithm.

Machines do not think about war. But there is a human being behind the every instruction.


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Спектральный анализ аудиозаписи видео-кадров (приближение, взрыв и детский плач), на которых запечатлен момент ракетной атаки истребителя на жилой дом на территории Украины, был использован для создания партии автоматического пианино: это буквальная фортепианная транскрипция, замедленная с 3-х секунд исходного звука до 4-х с половиной минут, чтобы сделать все структуры различимыми. При этом ни одна нота не была сочинена или исполнена человеком: звуковысотности и ритмы точно соответствуют исходному звуку, а динамика и диапазон некоторых структур были отредактированы с целью сделать их слышимыми. Со второй минуты композиции музыка сильно меняется: после отгремевшего взрыва в тишине заплакал ребёнок. 

Партия лайв-электроники вытекает из партии фортепиано, дополняя её электронными эффектами в реальном времени. Все эффекты исходят из звука, снятного с рояля микрофоном во время исполнения, а изменения в электронике контроллируются (так же без участия какого-либо исполнителя) заранее написанным алгоритмом.

Машины не думают о войне. Но за каждой инструкцией стоит человек.

Operating Instructions (The Machine Doesn't Think Of War)

Chaos 240 doit aux techniques de programmation avancée sur le logiciel MAX. Mais encore à certains chapitres de « la théorie du Chaos ». Chaos aléatoire plutôt à 240 BPM, une orchestration en spirales pour samplers, suivant les méandres d’algorithmies de nature proliférantes.

Nouvelles Vagues 5 - Chaos 240 (2020, 09'25)

Invited by a fellow composer to write a quintet for a local (Chicago) woodwind group. Until experimenting with the medium, was never excited about classical woodwind quintet music as a listener, finding it a bit colorless and treble-centric I suppose. My solution included some doubling on cor anglais, bass clarinet, and piccolo, and lots of stopped horn to expand the usual range and color. I'm indebted to Christie Vohs (clarinet) and the San Benedetto Winds for doing the first workshopping of this piece, and to Charlotte Cerminaro (horn) and Susan Telford (flute) for arranging its premier public performance.

Quintet for Winds

for three musicians and computer.
ensemble itinéraire.
clarinet pierre génisson, vibraphone christophe bredeloup, cello myrtille hetzel.
direction mathieu romano.

points caractéristiques (2013 - 2014)

Après la bataille, pour orchestre symphonique
Orchestre de Radio France
Pierre Andre Valade, Direction

Apres La Bataille - Orchestre de Radio France - P.A. Valade - 2015

East St.Louis Blues for piano and electronic
A psychoacoustic journey.

Stefano Malferrari, piano

East St.Louis Blues for piano and electronic

Winnipeg Symphony Orchestra
conductor: A. Mickelthwate

Beginning of piece
(with permission from the orchestra)

Lament for Humanity (extract)

The Pearls Before Swine Experience (flute, violin, cello and piano)

From the premiere 2014.
(Beginning of piece only)

Fragments of Light (extract)

for soprano and live electronics.
Text by Gustaf Fröding (translation to English by Judith Moffett)
Soprano: Sarah Jo Kirsch

The recording starts 5 minutes into the piece.

Quintet for Winds

Falesch

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