This work wouldn't count as "12-tone music" even though it is based on an extraordinary tone row recently discovered by the composer.  And it also wouldn't count as "tonal" even though it unabashedly deploys some triadic harmonies.  And it's also not one of those pieces that pushes to the boundary of atonality or, though primarily atonal, flirts with suggestions of root progressions.  

To explain: there are about half-a-billion 12-tone rows total, and still about  10 million when you count only up to the usual transformations.  But this row
[ 0 3 1 9 2 8 10 11 6 5 4 7 ]
enjoys a unique, 1-in-10,000,000 property.  Consider the ten internal 3-note sequences 
[ 0 3 1 ], [ 3 1 9 ], [ 1 9 2 ], [ 9 2 8 ], [ 2 8 10 ],  [ 8 10 11 ], [ 10 11 6 ], [ 11 6 5 ], [ 6 5 4 ],[ 5 4 7 ].   They all turn out mutually
so different each-to-each that you can't mistake one sequence for a transposition of another even if some or all of the notes get nudged up or down a semitone!  So that means, in principle, the listener can know where she is inside the row even with only dodgy relative pitch!

Multiply by 7 and semitones turn into 5ths.  So instead of using the original row to control pitches, this piece uses the related row [ 0 9 7 3 2 8 10  5 6 11 4 1 ] roughly speaking, to control key centers.  Since this new row stands to the cycle-of-fifths as the original one does the chromatic scale, now instead of inflecting up or down a semitone,  you get to replace any chord note with its dominant or subdominant.   The result: no collision between the 10 3-chord progressions can occur, no matter what the substitutions. 

The hidden skeleton of this work comprises four statements of the second row (but overlapping, and with the middle two transposed). Thus one may think of the work as 40 variations, each exploring one of the 3-chord sequences, but with constant substitution as described above.  Each variation consists of 15 phrases (for no particular reason).  But the phrases move from low to high,  making them easy to count off when you first try to follow the structure.  Eventually your ear will just "get it" and after a few listens you'll find you don't need to count to hear the harmonic changes that distinguish each variation from the next.

Altocumulus stratiformis translucidus undulatus, for solo piano

The score of this piece admits exactly 83115732365078762552332337878110548952200679604195080949452288203690857147444715766281935520882050460927610791678780839339229586464396866861032445129968303968188252334448835121882548281197932328781317813068798767276349840956406209317559862512982139391946842094091686069746024282314640840617436078275195806263980028665983905991622840599322742877480004294348278963802782706619062659265263265536700983471884723214045544639599606283205364823424345851806569987894579933526707006606846927982090315995893121358548401806156714109303897127197039477664790536434293317724500360764687975102660218463142743708236156445199181398864393605544799039395755065888568713607681196305395819719609678944936793998898754554687130749402864258657046839914895489063279213012631913579396745012413250310627776047295991610998197457107071648082097806441282277259693593260601342891033799522903266970065416435610577979910393457290596484122062108833222818285016924175092779085959517571738144970886468398741190729039009568391810819037858470425225592301845311180555332377910056278252305964160176836411866204038033135626749529092975244650531763839345623040000000000000000000000000000000000000000000000000000 distinct realizations.  (About 10^1169.)

If I offered just one realization at THE PIECE, that would make it aleatoric, a work of chance music.  If I offered the score as THE PIECE, that would make it indeterminate, something for the performer to complete compositionally in advance of any performance.

But rather, I consider as THE PIECE that super-astronomical totality, making the work both determinate and determined.  Of course no one can hear all of it, the universe couldn't even contain it.  But this reflects daily life.  For example we all know the concept "bird" without experience every extent, not to mention every possible bird.  So I offer 15 shadows (and may add more in the future), enough to suggest the form that lives in Plato's Cave.  

Those who care to listen to a few of them will quickly identify the shared common syntax, or seen another way, style.  But all realizations share more than that, namely very specific features of overall design.  

MIDI realization here, but I have take care to make sure this work will fall under a pianists hands and hope that some will take it up.

By The Shadows Know The Form 01

I composed these three gymnopédies inspired by an American friend and composer, Mr. George Peter Tingley, who did the same before and asked me to perform his own.
I thought about mine as a crescendo both in intensity and writing. They are also a whole, a journey into the world of mystery and the unconscious.

Gymnopédie dramatique - II. Ancestrale. Lento ma non troppo

IMPULSFESTIVAL 2021 | OCTOBER 13 | HALLE (SAALE), GERMANY

October 13 I Halle (Saale), Germany
Steintor-Varieté
Am Steintor 10, 06112 Halle (Saale)
http://www.impulsfestival.de/2020/

Program
Premieres from IMPULS CAMPUS  

Matias Fernandez Rosales (*1988)

CAMPUS Masterclass led by: Annette Schlünz

Musicians
Flute: Jaume Darbra Fa
Clarinet: Hugo Queirós
Piano: Itxaso Etxeberria
Percussion: Moritz Koch
Viola: Alice Vaz
Cello: Ella Jarrige
Double bass: James Banner

Conductor: Rémi Durupt

Director of Tempus Konnex: JiYoun Doo
www.tempus-konnex.com

Video: Sascha Kummer

Artistic Directors of Impulsfestival: Hans Rotman, Julian Rieken

Sponsored by Ernst von Siemens Musikstiftung, Lotto GmbH Sachsen-Anhalt, Land Sachsen-Anhalt, Neustart Kultur/Stadt Halle

Seeds live (2021) - Matías Fernández Rosales (*1988)

IMPULSFESTIVAL 2021 | OCTOBER 13 | HALLE (SAALE), GERMANY

October 13 I Halle (Saale), Germany
Steintor-Varieté
Am Steintor 10, 06112 Halle (Saale)
http://www.impulsfestival.de/2020/

Program
Premieres from IMPULS CAMPUS  

Veronika Reutz Drobnić (*1999)

CAMPUS Masterclass led by: Annette Schlünz

Musicians
Flute: Jaume Darbra Fa
Clarinet: Hugo Queirós
Piano: Itxaso Etxeberria
Percussion: Moritz Koch
Viola: Alice Vaz
Cello: Ella Jarrige
Double bass: James Banner
Performer: Veronika Reutz Drobnić 

Conductor: Rémi Durupt

Director of Tempus Konnex: JiYoun Doo
www.tempus-konnex.com

Video: Sascha Kummer

Artistic Directors of Impulsfestival: Hans Rotman, Julian Rieken

Sponsored by Ernst von Siemens Musikstiftung, Lotto GmbH Sachsen-Anhalt, Land Sachsen-Anhalt, Neustart Kultur/Stadt Halle

No.2 (2021)- Veronika Reutz Drobnić (*1999)

When I Return to Rust

Beetholven Cuhna "Na Terra do Vai-não-Volta" (2016)

Episode 1 of the Laurel and Hardy Podcast hosted by Ross Owen with special guests including...

VAL LACKEY: Val met Laurel and Hardy on more than one occasion during their 1953 UK tour. Vals parents Tommy Godfrey and Dee became close friends with the boys.

TERRY MOORE: Terry appeared in the Laurel and Hardy movie A-Haunting We Will Go.

CHRISTOPHER GUEST: Actor, director, writer and musician Christopher Guest (Spinal Tap, For Your Consideration, Waiting For Guffman, Mascots) is a lifelong Laurel and Hardy fan.

SUBSCRIBE TO THE LAUREL AND HARDY PODCAST ON ITUNES
https://itunes.apple.com/gb/podcast/the-laurel-and-hardy-podcast/id1167845980?mt=2

Episode 1: Hosted by Ross Owen. Guests: Val Lackey, Terry Moore and Christopher Guest

La composizione utilizza: campioni vocali registrati (Lorenzo Pierobon e Marta Gerosa) e suoni di sintesi creati col programma Csound. L'idea è di indagare Il Sound Color (Slawson), partendo da aspetti percettivi. La poesia adottata è "Spazio" di Alda Merini.

Ithris

Instrumental;Modern classical; Electronic music; Art rock; ... just music...

When I Return to Rust

Igor Bischi