Name: Benoît Delbecq 4 _ Spots On Stripes featuring Mark Turner, John Hébert and Gerald Cleaver by Benoit Delbecq
Duration: 8 min 35 s
Description: First track of Benoît Delbecq's new quartet album featuring Mark Turner, John Hébert and Gerald Cleaver. Out on Clean Feed at the end of March 2018. Copyright Benoît Delbecq - all rights etc as usual.

Performed by mixed choir "Jauna muzika" in 2007, in Vilnius

photo by visual artist Candas Sisman from our project EFF-LUX

Textile 2, for mixed choir

"Dhani", for string quartet, accordion and percussion, a commission of the festival in Wigry in 2009. Performed by string quartet Chordos, Daniel Rozov, accordion and Saulius Astrauskas, percussion.

photo by visual artist Candas Sisman from our project EFF-LUX

Dhani

„Panchami“, for string quartet, commission by festival „Jauna Muzika“, performed „Chordos“ string quartet in 2006.

photo by visual artist Candas Sisman from our project EFF-LUX

Panchami

PS. album will be released in summer 2022.

Kirke Karja: piano + composition
Ludwig Wandinger: drums
Etienne Renard: double bass
Siim Hiob: recording

Photo by Kaupo Kikkas

György (work in progress): Kirke Karja + Etienne Renard + Ludwig Wandinger

Petter Eldh - Bass, Christian Lillinger - Drums, Christopher Dell - Vibraphone, Otis Sandsjö - Tenor, Philipp Gropper - Tenor, Hanna Paulsberg - Tenor, Marcelo Gabard Pazos - Alto, Wanja Slavin - Alto, Francis Fuego - Synth. 
Taken from "Love Declared Disaster Averted" GAL001
7" vinyl, release 17th feb 2014

PETTER ELDH - LOVE DECLARED DISASTER AVERTED

First track of Benoît Delbecq's new quartet album featuring Mark Turner, John Hébert and Gerald Cleaver. Out on Clean Feed at the end of March 2018. Copyright Benoît Delbecq - all rights etc as usual.

Benoît Delbecq 4 _ Spots On Stripes featuring Mark Turner, John Hébert and Gerald Cleaver

The word “Sattva” has forty-eight different meanings in Sanskrit language symbolizing various connotations, for example: spirit, essence, demon, monster, vital breath, matter, creature, wisdom and etc. Number forty-eight served as a basic number for creating the structure of the piece and textile pattern. The piece develops from the motives of six measures, where each new motive is proportionally augmented until 24 measures. Throughout the piece, dynamics grows from ppp to ff until motives weave into monolith soundscape. Harmony and tonal range is very limited, starting on note D, which slowly descends into tutti C.

The work was supported by the electronic music festival “Jauna Muzika”, which is organized by Lithuanian Composers’ Union. The world premiere was performed on 24 April in 2018 in the electronic music festival “Jauna Muzika in Vilnius, performed by Lithuanian accordionist Raimondas Sviackevičius.

Special thanks to a Lithuanian philosopher, orientalist, translator Audrius Beinorius, who helped me with Sanskrit language.

Sattva

Pianists Xenia Pestova and Pascal Meyer at contemporary music festival Ars Musica, Brussels, Belgium, 2018.

Textile 1 (2006) for two pianos came into being when Egidija Medeksaite discovered the technique of mapping the patterns she was using in her textile work onto musical structures. The initial formula for a composition is fixed in the form of a geometrical textile pattern; the white and black elements of the grid convey musical microformations of the same nature but in opposition (for example, the ascending or descending directions of the movement of sounds), as if they were warp and weft of a textile. What is important for pianist here is to achieve the smooth, flowing, encompassing flow of sounds, as if they were the play and sparkle of small crystals. 

Linas Paulauskis, Music Information Centre Lithuania

Textile_1

BhUtadhAtrI in Sanskrit language means “sleep, earth and supporter of being”.

This composition uses two different systems: the first is based on a dense textile weave that determines a strict, logical structure, moving from the highest note to the lowest of the trumpet; the second is based on the harmonics and overtones of the changing chords produced by the first system. The harmony is based on perfect intervals – perfect fourth, fifth, octaves – that are de-tuned by overlapping microtones, resembling the drones of Indian music. The two systems are woven together into a monolithic soundscape that develops from quiet to loud, overlapping different patterns as the music grows from a few notes into an enormous chord.

The work is commissioned by the contemporary music festival “Gaida” and Lithuanian Composer’s Union.

The world premiere was performed on 19 October in 2018 by the Lithuanian Ensemble Network, conducted by Vykintas Baltakas. Trumpets: Laurynas Lapė, Aurimas Jankevicius, Andrius Stankevicius, Linas Rupšplaukis, and Vilius Surdokas.

BhUtadhatrI

The structure of Malakosha is based on a repetitive textile weave which, on each repetition, is proportionally augmented until it is 24 measures long. Melodic patterns and change within these patterns also follow the structure of the weaving pattern. The work takes its title from the pentatonic Indian raga on which the harmony and tonal range of the music is based. Each section expands by adding more notes to the repetitive melodic patterns. Over the course of the work the role of the "noisy patterns" develops: initially they are in the background and then gradually become part of a louder soundscape with the live instruments.

Performed by Royal Northern Sinfonia, conducted by James Weeks at  CoMA Festival of Contemporary Music for All on 6 March, 2020 at Sage Gateshead, Newcastle, UK.

Recorded by BBC Radio 3:
https://www.bbc.co.uk/sounds/play/live:bbc_radio_three

The work was commissioned by the international contemporary music festival ARS MUSICA (Belgium) and premiered by ENSEMBLE 21, conducted by Marc Collect on 29 November, Brussels.

Malakosha_Royal Northern Sinfonia (The Excerpt)

ÂKÂSHA, for string chamber orchestra performed by Ensemble Allegria on 18 September, 2020, in Oslo, Norway. Recording by Wolden Lyd.

The meaning of Âkâsha derives from a description that I found in the book Raja-Yoga And Patanjali's Yoga Aphorisms written by Swami Vivekananda in 2012:

“The whole universe was composed of two materials, one of which is called Akasha. It is the omnipresent, all-penetrating existence. Everything that has form, everything that is the result of combination, is evolved out if this Akasha. It is the Akasha that becomes the air, that become the liquids, that becomes the solids; it is the Akasha that becomes the sun, the earth, the moon, the stars the comets; it is the Akasha that becomes the human body, the animal body, the plants, every form that we see, everything that can be sensed, everything that exits; it can not be perceived, it is so subtle that it is beyond all ordinary perception; it can only be seen when it has become gross, has taken from. At the beginning of creation there is only this Akasha. At the end of the cycle the solids, the liquids, and the gases all melt into the Akasha again, and the next creation similarly proceeds out if this Akasha”.

This became a source of inspiration for a new work, exploring continuous interwoven sonic entities of gradually changing timbre based on textile patterns. My intention was to create distinct patterns of timbre, which develop from one noisy material into seven independent timbral layers, later transforming into one monolithic soundscape.

The work is dedicated to Anton Lukoszevieze.

ÂKÂSHA_Ensemble Allegria

Multi award-winning Parisian pianist, composer and producer Benoit Delbecq figures among the prominent innovators of the international contemporary jazz scene who have build their own singular language in music. He has brought the soul of jazz to John Cage's prepared piano, when The New York Times depicts him as "a brilliant and unconventional French pianist" (Chinen). -- photo by Igor Juget. 
Benoit Delbecq is a founding member of Bureau de Son, a parisian non-profit and label (dStream) for new music.

Benoît Delbecq 4 _ Spots On Stripes featuring Mark Turner, John Hébert and Gerald Cleaver

Benoit Delbecq

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