The New York New Music Ensemble

Eduardo Leandro, conductor
Emi Ferguson, flute
Gleb Kanasevich, clarinets
Leah Asher, violin
Michael Nicolas, violoncello
Eric Huebner, piano
Daniel Druckman, percussion

An effulgence fills the southern boughs

Instrumentations: Clarinet, Oboe, E. bass, Accordion and Cello with Electronics
October 2023 | BETRIEBSSTÖRUNG | Cologne, Germany

Performers: Ensemble S201 
Tamon Yashima, Oboe/Elektronik
Heni Hyunjung Kim, Klarinetten
Filip Erakovic, Akkordeon
Robert Alan Wheatley, Cello
E. Bass, Emanuel Wittersheim

The Distorted Interpretation of the Conceptual Sensibility of Gestalt [Rev.2023]

Composed for Alex Johnson and the Laura Spelman Rockefeller Memorial Carillon.

Recorded and engineered by Christopher Willis.

and even the wall breaks

Composed by Zaira Castillo 
Mixed and Mastered by Pedram Diba 

Cloudy

Premiered by Sound Icon on February 18th, 2018 at the Boston University Concert Hall.

PROGRAM NOTES:
time is the precipice of a thing becoming itself is based on the exploration of formlessness as form, a piece of music where the drifting, seemingly aimless instrumental lines create a complex texture that becomes more than the sum of its parts. Instead of relying on a clearly delineated form based on goal-oriented structures, this work gradually transforms its elements without ever feeling the need to go anywhere other than where it already is. In this sense, the music is in a constant state of becoming itself, a goal that it can never really achieve.

“Paradise was unendurable, otherwise the first man would have adapted to it, this world is no less so, since here we regret paradise or anticipate another one. What to do? where to go? Do nothing and go nowhere, easy enough.”
                        - Emil M. Cioran

time is the precipice of a thing becoming itself

for bowed guitar, pedal board, and processed voice

in the forest of the night (ryan garvey as composer+performer)

improvisation using Max/MSP, for processed Harmonium, processed Recorders, prepared electric guitar, and electronic sounds

some mornings i have an overwhelming sense of sadness

This piece is a sonic documentation of my experience with depersonalization.

I would like to thank HYPERCUBE and Charlotte New Music for this opportunity to write this piece and have it premiered in part of their concert series.

my body as a vessel, lackluster in strife

Based on a cringy post from a boomer who hates hip hop

My Dears (Copypasta Beat)

Benjamin J. Penwell writes music and lives in Chicago. He is a PhD candidate in Composition & Music Technology at Northwestern University, and holds degrees from Boston University (M.Mus, Composition & Music Theory) and University of Oregon (B.Mus, Composition).  //  His music explores texture & timbre, drone & sustain, quiet & silence, noise & consonance, beating & acoustic phenomena, and tuning & microtonality. He likes fermatas.  //  He is interested in extreme metal, ambient and drone music, harsh noise, and early music.  //  He likes guitar pedals & digital sound processing, distortion & power chords, reverb & delay, synthesis & sound design, and recording & audio editing.

time is the precipice of a thing becoming itself

benjamin j. penwell