Dye My Hair

Angular, for acoustic piano solo (2021) 
[Demo] 
This piece reflects Industrial 4.0 and the Future/Current Machine World. It explores the texture of repetitive patterns, questioning and symbolizing the robotic movements.

Angular | Piano Video on Youtube: https://youtu.be/-Syb0xKbZEk

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mixing/cover art: Ting Luo
photo credit: Clover

Angular

Augular

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Live improvisation on Jan. 6, 2021 @ Ircam, Salle Stravinsky

Yi Zhou 周易, cello
Jon Yu, electronics

Improvisation with Yi Zhou 周易 (Jan. 6, 2021) for cello and electronics

Hoson zês, phainou, mêden holôs su lupou;
pros oligon esti to zên, to telos ho chronos apaitei.

[For as long as you live, be happy and do not be distressed in any way.  
Life exists for a short while, and Time demands its due.]

Ancient Greek text from the Epitaph of Seikilos, ca. 1st century C.E.
English translation by Randall McNeil


Seikilos

Flags On The Moon

Situation I / Incidents( 2016)
Written for Vertixe Sonara (Tenor Sax, Acc, Pn, Perc, Vc, Db) 
**
Premiere: November 19th. 2016
Luz-Non-Luz no Festival Vertixe Sonora
******
Some words about the piece:
Situations are series of pieces with a set of circumstances in which one finds oneself.
In Situation I / Incidents, I am carefully observing, perceiving and later on identifying different incidents and their qualities. and also how they reflect each situation around them with their Echoes and resonances.

In our daily life, we face incidents all the time. sometimes they are distinct piece of action or episode. They could also be an occurrence of seemingly minor importance, especially factions between which relations are strained and sensitive. Since every action has a reaction, there would be footprints of resonances and echoes after each incident.

Situation I /  Incidents (2016)

text by Nina Dante
performed by Fonema Consort

Bodyscape

Intertwined Distances (2018)
Solo Harpsichord and Electronics (quadrophonic)

commissioned by and written for Mahan Esfahani
Premiere: March 2018, Madrid, Fundación Juan March
http://www.march.es/musica/detalle.aspx?p5=100310
Recording: Live radio broadcast 

----------------------------------

Some words about the piece: 

Distance, Movement, Silence, Perception, Paradox, Continuity...

According to Merriam-Webster, distance is a separation in time, an extent of advance from a beginning; and in mathematics it refers to the degree or amount of separation between two points, lines, surfaces, or objects.

In this piece I am exploring the qualities of various dimensions of ‘distances’.
The piece opens perceptual spaces and plays with the listener’s perceptions. It is an observation of how the sound moves and travels within the concert hall, of the distances between the performer on stage and the audience, and of the relationships of both with the quadraphonic speakers. On another level, it explores the phenomena of distance in time (the centuries- old harpsichord being placed in a modern environment) and distance between people (geographically, emotionally, etc). Our daily life is made of these intertwined distances, which are constantly in movement and change.

On a personal level, the electronic component comes out of a close collaboration, between Mahan Esfahani and the composer.

The sounds are solely harpsichord sounds, specially recorded for this piece. In association with various filters and processes, the material developed further and gained other colours and qualities.
The piece is an observation of these constant movements of sound and various perceptions of distances – and of ultimately how all these unite and convolute by twining with each other.

Intertwined Distances (2018)

Jessie Nucho performing the world premiere of In Response, by Brett Austin Eastman, at Center for New Music in San Francisco on Jan 18, 2020. Notes from the composer about the piece:

"The first part of a three-work suite for flute, In Response is written for flute and tape. It is about the pain of being concerned about the direction of society and feeling like you are following an endless stream of society’s self-fulfilling media stories with no way to tell your story back to it. The tape part is a pre-recorded feedback performance using an electric guitar and ring modulator, representing the daily streams of information we receive from higher up sources that can’t hear our voice. The flute represents the individual voice in response."

-Brett Austin Eastman

For full video, please click the following link:
https://youtu.be/8dhSCpnnpjI

For more information:
http://brettaustineastman.com/

In Response (2019)- performed by Jessie Nucho

Premiered by AsianArt Ensemble on August 11th, 2019 at Villa Elisabeth, Berlin.

Wu Wei, sheng
Hong Yoo, daegeum
Matthias Leupold, violin
Chang-Yun Yoo, viola
Gabriella Strümpel, cello
Matthias Bauer, contrabass
Adam Weisman, percussion
Il-Ryun Chung, conductor

[pictured: Paulo Nozolino]

In Response (2019)- performed by Jessie Nucho

Brett Austin Eastman

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