Screeching Violins and Raspy Cellos: Some Alternative Favorites

Study Score: http://www.editiongravis.de/verlag/product_info.php?info=p1918_Tramespace-I.html

Asko|Schönberg Ensemble
Clark Rundell, cond.

Geertekerk, Utrecht, The Netherlands
Gaudeamus Muziekweek 2013, Opening Concert
September 2, 2013

Live recording made by Richard de Gruyl for Concertzender/VPRO during Gaudeamus Muziekweek 2013

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Tramespace is a hybrid word composed of two French words, “trame” (woof, or weft in English), meaning the crosswise threads on a loom over and under which other threads (the warp) are passed to make cloth, and “espace” (meaning space). The metaphorical loom is a context from which the musical materials are woven. Just as each thread is carefully placed and integrated to create a textile, each sound gesture, each musical impulse is threaded with precise intention. As the musical filaments are carefully interlaced – heterogenous, yet collaborating to become one – the surface becomes rich with patterns while depth is made by the multitude of interacting strands. At times, the weave is loosened and a thread becomes entangled, exposing the threads as merely threads just momentarily and no longer as fabric, shifting perspective and seeing things anew, even altered once the yarn becomes rejoined.

In tandem, the concept of space and its elusive quality is something Onishi became interested in during conversations with close friend, composer Mahir Cetiz, most notably regarding the “compositional space” in his work, Départ dans… As space is inexorably tied with time, with an elapsing sense of immediacy and memory, the awareness of physical and metaphysical space is fluid. As music passes with time, it fills a space, interacts with it and leaves it. It makes you aware of the room you are sitting in, yet your sense of inner space has expanded limitlessly. For Onishi, “…it lingers to the territory of the unknown…” and for him, this piece “is, in a sense, an attempt to circumscribe this metaphysical space using the sound that is developed over time.” His work is also informed in part from the philosophical discussion of “self” that is put in the context of the world as a space by Japanese philosopher Shizuteru Ueda in his “Two-Fold Being-in-the-World.”

Tramespace I was commissioned by Gaudeamus Muziekweek as a result of receiving the Gaudeamus Prize in 2011. Tramespace II, still a work in progress, is commissioned by Ensemble Intercontemporain in Paris.

Tramespace I and II can be played separately, although playing them together forms a coherent whole as a diptych.

- Program notes by Michelle Lou

Tramespace I (2012-13)

for Contrabass-Clarinet, Cello, Prepared piano and Percussion
Carol McGonnell, Contrabass Clarinet
John Popham, cello
Russel Greenberg, percussion
Chris Goddard, piano

Inhibited Momentum

Note: video footage of this performance can be viewed here: https://vimeo.com/89395213

Nieuw Ensemble
Yoshiaki Onishi, cond.

An Evening of Today II
January 16, 2014
Muziekgebouw aan 't IJ, Amsterdam, The Netherlands

Départ dans... (2010, rev. 2013)

Score: http://www.editiongravis.de/verlag/product_info.php?language=en&info=p1903_Tr--epilogue-.html

Recording of the new, definitive version

Kevin McFarland, violoncello
Ryan Streber, recording engineer

Columbia Composers Concert
Cary Hall, DiMenna Center (New York)
April 14, 2014
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When I wrote my Culs-de-sac (en passacaille) for string quartet in 2009, it was evident to me that I should develop the sonic soundscape that I have created in that piece. I have decided that I write a cycle of compositions for string quartet and its subsets.

Tr (épilogue) marks the second piece that I completed in this cycle. Its title has a precursor; Tr for violoncello and piano, of which I took the formal scheme as a point of reference for the solo piece. I took the duo piece, stripped away the piano part, and enlarged the piece by adding musical commentaries.

As the title may suggest, I intend that this piece conclude the cycle. In the spirit of concluding the cycle, my focus in this piece was to illuminate the gestures and situations of ‘farewell,’ in the sense that the envelope of the phrases has the conscious trajectory of fade-out.

Many thanks to Patrick McGuire who, in the symposium Creative Dialogue V, premièred the work-in-progress version as a part of Santa Fe Chamber Music Festival. Also thanks are due to Anssi Karttunen and Magnus Lindberg, whose commentaries and feedbacks were crucial to the development of the piece. For the revised version, a rather extended coda (Coda (à Séverine)) was added. I am indebted to Séverine Ballon, who kindly demonstrated a technique utilized in this coda.

Tr (épilogue) is dedicated to Pierre Morlet and Mark Andre.

- Yoshiaki Onishi

Tr (épilogue) - for violoncello solo (2012, rev. 2014)

Recording Engineer: Jordan Strum
Percussion, Christian Smith
Piano, Chris Goddard
Live Performance from May 2nd, 2014 in Pollack Hall, McGill University
In the piece, the 808 becomes the prime metaphor for the complex forces of appropriation in popular culture. The rhythmic symbolism inherent in the piece stems from the device: 8 popular dance rhythms over 8 decades, and how this relates to the proliferated use, and wide-spread appropriation, of “the 808 sound” in contemporary pop and dance music. The piece is structured around the abstract presentation of 8 distinct rhythms: the march, waltz, tango, bossa nova, swing, as well as a rock, punk and hip hop beat. The rhythms are initially presented chronologically: scaled and juxtaposed accordingly. The scaled temporality of my materials (80%... 80%... 80% and so on...) assumes some notion of hierarchal design, however in a cascading system of ‘rhythm to instrument’ assignments the piece achieves a more balanced state of material interaction. In this presentation, rhythmic materials emerge from punctuating impulses or silence, and through different scalings suggest, through each repetition, ever-changing material associations. By composing in this structure I hope to encourage a dialogue between the emergence of cultural forms without privileging any one in particular. 


EIGHT0H8 (2013) By David Bird (b. 1990)

Quelza - The Diary Of Borea

JEANS at Orphic Radio ‘25 [Down Tempo]

114th Episode of the Unstable: Stable program pisode is carefully curated by the artist Tzu Ni, whose work delicately navigates the intersections of sound, space, and the human form.
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Tzu Ni is a Taiwanese artist currently based in the Netherlands. She believes in the flexibility of human bodies and views the intersection of technology and humanity as a sweet spot, seeks the balance between institutional and non- institutional contexts. Her practice explores the entangled relationship between sound, gender, and space, often through multichannel sonic installations, field recordings, and text-based narratives that emerge from subconscious memory. Working at the intersection of embodied listening and spatial poetics, she constructs environments where sound becomes a medium of intimacy, resistance, and relational knowledge
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Artist Photo: charliespiegelfeld
https://www.instagram.com/charliespiegelfeld?igsh=MXc1c2p6bXVlNWc5Zg==
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links:
Bandcamp – https://iitzunii.bandcamp.com/
Instagram – https://www.instagram.com/iilli.i.illii/
Soundcloud – https://soundcloud.com/iitzunii

114 – Tzu Ni

https://soundcloud.com/moorhaus
https://soundcloud.com/user-991894811
Forged by warehouses and early morning dance floors, Moorhaus & Paul Gordon distill a sound that is murky, hypnotic, and channeled in the grit of the Midwest underground. As collaborators and the central figures behind Reciprocal Rhythm, their approach to DJing is less about genres and more about mood—pulling from the shadowy corners of house and techno to create deep, entrancing experiences that blur time and space.

In a special 3 hour mix for Research & Development, Matt & Paul dive deep into the sounds at the center of their dance floor experiences, built on rolling low-ends, tightly coiled rhythms, and squelching textures that nod to both the raw legacy of acid and the cerebral futurism of minimal. With a shared reverence for the dance floor’s potential for transcendental experiences, they channel the spirit of late-night Midwest sessions where strange voices, stripped-back drums, and slippery synths conspire to entrance the room.

This mix is a document of that shared language: a dive into the darker corners of their record bags, where tension simmers, grooves unfold slowly, and nothing is rushed. It’s music for dimly lit spaces and locked-in minds—a Midwest transmission shaped by passion, intention, and the long, strange hours between midnight and morning.

RND 137 - Moorhaus & Paul Gordon of Reciprocal Rhythm

For RA.1000, DJ Sprinkles' first mix in over a decade is a powerful meditation on the genocide in Gaza.

Dance music often relies on simple narratives: release, escape, unity. But those narratives can often feel inadequate, and even at times, hollow. Or, as Terre Thaemlitz might bluntly put it, just "shitty."

For her first mix in around 15 years, Terre Thaemlitz AKA DJ Sprinkles, challenges us to think differently. "I felt this 1000th podcast should reflect the moment in which it was made," she told us in her Q&A.

And what is this moment? Every day since Israel's 2023 assault on Gaza began, an average of 28 children have been killed. That's an entire classroom, every day, for over 600 days (at the time of writing). It's a staggering figure that only captures a fragment of the listless cruelty imposed on the strip.

Faced with such a genocide, what can music really do? How political can it truly be?  For their RA.1000, Thaemlitz gives us an unflinching rebuke to the idea that music should provide escapism. The mix weaves ambient fragments and jazz passages, woven around samples from Israeli media and the voices of outspoken Jewish critics like Gabor Maté and Norman Finkelstein. 

The result is not just a protest, but a document of our time. For Terre Thaemlitz, music is never just music. Her RA.1000 serves as a reminder that in an age of relentless suffering, the most political act is to reject the illusion of escape, and search for something greater.

Read the interview and find the tracklist at ra.co/podcast/1013. Listen to all RA.1000 mixes, as well as the complete history of the RA Podcast, at https://1000.ra.co

RA.1000 Terre Thaemlitz / DJ Sprinkles

An electroacoustic etude exploring the concept of rhythm, made exclusively with Garageband Drum Machine Presets. Inspired heavily by the work of the New Complexity movement, especially the Percussion Solo Bone Alphabet by Brian Ferneyhough, Garageband Beat #54 is a multi-year dissection on beat-making. Composed initially as an inside joke during the composer's full-time summer job, this piece blurs the line between intentionality and a sincere lack of musical abilities. This work is also part of a series of sonic works that deal with sonic oversaturation and busy, complicated structures to externalize the composer's mind. Garageband Beat #54 raises the question: When do non-rhythms become polyrhythms? And when do those become heavily synchronized auditory gestures on a giant time scale that we call sonic phenomena? Are intensely choreographed polyrhythms just really a dubious excuse for the lack of time? How can we solve and work through complicated music in a way that makes sense? How do we process sound and rhythms that are seemingly fragmented, complicated, completely random, and sonically unreliable?

Garageband Beat #54

This Thursday at Dondernacht: 

Global Club Sounds will take you on a journey with NALA and HUNTER through the hottest global club music. From dancehall, amapiano and baile funk to batida, kawina, bubbling and house music. Expect an energetic mix of recognizable riddims and surprising new sounds, always danceable and full of fire.

NALA is known for her multi-genre sets packed with percussive, high-energy tracks influenced by the Afro-diaspora, Brazil, and far beyond. HUNTER brings an open-format approach to the electronic spectrum, where genres flow seamlessly into one another for a night full of rhythm and movement.

Check out this guestmix to get in the mood for their first edition this Thursday.

Get your ticket at https://www.tivolivredenburg.nl/agenda/70140779/dondernacht-global-club-sounds-baile-funk-house-bubbling-bass-04-09-2025

COMING UP - September 4th - Dondernacht: Global Club Sounds w/ Nala & Hunter

Queen

@w_a_r_m_t_h

1. Warmth - Insight [@archives-5]
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4, Warmth - Youth [Archives]
5. Warmth - Wave Growth [Archives]
6. Warmth - Everyday from Now [Archives]

Love and light

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LYL Radio ~ DJ Gregoryan (26.11.19)

Percussionist, DJ, Music Teacher based in The Hague - originally from Cincinnati, OH. 
Contact/Bookings: cssmith108@gmail.com

EIGHT0H8 (2013) By David Bird (b. 1990)

Christian Streit Smith

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