Bruno Lo Bianco, percusiones (vibrafón, glockenspiel, crótalos, bar chimes, cuenco tibetano & tam tam)



Grabado en estudios Ion, Buenos Aires, Argentina 2021 para Trasfrontera Argentina #29

https://www.youtube.com/watch?v=zzx--_66sX4&t=1552s

Trasfrontera es una nueva iniciativa de Música UNAM para difundir proyectos musicales generados en distintas partes del mundo, mediante presentaciones audiovisuales realizadas especialmente para nuestro público en línea. El factor común de la propuesta es transitar con fluidez entre distintos géneros (jazz, rock, música experimental pero también tradicional) y adentrarse en la escena local de la mano de un curador y distintos invitados, reunidos en un emblemático estudio de grabación.

Martín Bauer: Curador

Physiologus

Physiologus  (2021) / Percusión / Bruno Lo Bianco

A carnyx is a large ceremonial and battle trumpet that dates back to the Iron Age Celts. The body of the instrument, a curved sharply ascending S-shape, features a small mouthpiece on one end and a wide bell on the other. Towering six or more feet above the head of the musician when played, the bell of the instrument is typically designed as the head of a fierce wild predator or mythical monster that comes to life during performance with fiery eyes, wagging tongues, and cacophonous bellows. One can imagine the terror of first encountering an army of Carnyces as scores of beastly animal heads slowly emerge from the early morning mist with “cries so loud and piercing, that the noise seemed to come not from human voices and trumpets, but from the whole countryside at once”. (Polybius, Histories, II, 29). Programs: Csound and IRCAM's Open Music.

Carynx by Chris Arrell

This song is from my new CD, VAR, recorded in herring tank in Djúpavík. With me is Svavar Knútur on harmonium.

Fagurt er í Fjörðum, 
þá frelsarinn lánar veðrið blítt, 
heyið grænt í görðum, 
grös og heilagfiskið nýtt.
En þegar vetur að oss fer að sveigja,
veit ég enga verri sveit
um veraldarreit.
Menn og dýr þá deyja. (Björg Einarsdóttir- Látra-Björg) 

It is beautiful in Fjörður,
when our saviour gives the weather mild,
green hay in the gardens,
herbs and the fresh halibut.
Bug when winter towards us is turning,
I know of no place worse than there 
in all the world.
Man and beast then die. (e. Garðar Guðnason)

VAR Fagurt er Í fjörðum

Spirits and Spectra takes inspiration from the chaconne, a musical form organized around a series of repeating chords. Five timbres/harmonies unfold, settling in time into a looping pattern fashioned from permutations of the series 3-5-1-4-2. Aleatoric processes coded in Open Music complement the number sequence by providing continuous variation in frequency density, waveform, amplitude, spatialization, and delay. Further contrast is heard in deviating sections rooted in interpolations between the chords of the chaconne. Spirits and Spectra is dedicated with gratitude to the Csound and Open Music communities.

Spirits and Spectra

Frasi Ossidiana

Eugen's eighth stunt - naviarhaiku550

Performed by Mia Detwiler, violin (https://www.miadetwiler.com/) and Mike Capone, viola (https://www.instagram.com/mikecaponeviola/)

artless beauty in pursuit of theory op.3 (2023) for violin and viola

This is a classic-style electronic music piece.

Electronic Study

Beat It With a Stick

Beat It With a Stick.mp3

Apple, for four sopranos, explores the sounds and rhythms present inside Gertrude Stein’s poem “Apple” from Tender Buttons. The work is comprised of eight sections, each examining the poem, or a subset of the text from a different angle. The first section explores the phoneme /aep/ (the first part of the word apple) and a “normal” singing style; the second, explores percussive whispered and spoken consonants from “apple” through “shake;” the third, explores spoken and Sprechstimme vowels from the beginning through “please;” the fourth explores half-sung syllables from the beginning through “no no gold;” the fifth section explores spoken/Sprechstimme/and sung words and word-clusters through “change sweet is;” the sixth section is the most melodious, and explores “bready” through “please,” the seventh section explores the entire poem moving from whispered through half-sung textures, examining text from “apple” until “ham;” and the eighth section, focuses on the final phrase: “this is use.” The work is highly theatrical and the performers are directed to explore a vast repertoire of dramatic characters and singing styles. 

​The piece was composed using a multidimensional timbre model Reid developed while at Stanford University. The model is based on perceptual timbre studies and has been used by the composer to explore the compositional applications of “timbre spaces” and the relationship between reverberant space and timbre, or rather the concept of “timbre in space.” Apple explores the timbral possibilities of the voice.
​
This work was commissioned by Accordant Commons and was written during a residency at the MacDowell Colony.

Tender Buttons 
[Apple]

By Gertrude Stein

Apple plum, carpet steak, seed clam, colored wine, calm seen, cold cream, best shake, potato, potato and no no gold work with pet, a green seen is called bake and change sweet is bready, a little piece a little piece please. 

A little piece please. Cane again to the presupposed and ready eucalyptus tree, count out sherry and ripe plates and little corners of a kind of ham. This is use.

Apple

Kaplan Tuba Libre!.mp3

chrisarrell(dot)com
music for throats, fingers, and oscillators 

Carynx by Chris Arrell

chrisarrell(dot)com

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