midnight in the capital
how many men
are growing old in this wind?

Hermit's dream of mountain ash

A Simple Sorrow, Not Mysterious

Broadcast

Outspread sets out to explore two continuums during its course: the continuum from pitch to noise and the reality-abstraction –continuum. In the piece pitch is a subset of timbre and pitched material is used simply as one timbre among others – by making the chords static, discourse based on pitches or harmonies is not formed, but the pitches serve as a timbral counterweight to sharper granular material. The reality-abstraction –continuum is explored by juxtaposing and mediating between situations of different apparent realism. The material evolves from immersive real situations to entirely abstract sound masses and vice versa, with wave-like swells frequently acting as catalysts. However, more than a technical discourse, the piece attempts to provide an impressionistic voyage.

Outspread (2010)

Anton Webern’s early pieces embody a certain laconic expression that has intrigued me. Even though they seem like moment forms consisting of disconnected, causally vague instants, they manage to create an enigmatic coherence, a microcosm. Restrained brevity and soft dynamics create an impression of a subtly observant poem – perhaps a haiku. All of these were features I set out to work with in my homage. The piece is intended to eventually be part of a suite exploring the theme.

Homage to Anton Webern (2011)

My main concerns with Nocturnal Debris were atmosphere and pacing. I was attempting to create a subtle and sensitive rhythm that, combined with the materials and their development, creates a gentle, impressionistic mood. The piece strives to be inconspicuous and enigmatic, but with a sense of meaningfulness that leaves something lingering in the air after it’s gone. 

Nocturnal Debris (2012)

Still Air is a mixed piece for 15 musicians (fl, ob, cl, bsn, hn, tpt, tb, 2 x perc, pno, vn, va, vc, cb, elec). The piece consists of 10 quiet and relatively static sound environments, between which there are areas of silence and brief percussive punctuations.  The sounding sections are thought of as silence made audible – as if room tones, ventilation hums and distant buzzes of electricity had been subtly amplified. This version has been performed by the BCMG.

Still Air (2012)

Vestiario #1, versión binaural del original a 8 canales.
Imágen de Kawanabe Kyōsai.

Bestiario: 1_CORVUS (2019-2020) - versión Binaural para escucha con audífonos

...there rushes at once through my flesh tingling fire,
My eyes are deprived of all power of vision,
My ears hear nothing but sounds of winds roaring,
And all is blackness....

Musique acousmatique/musique concrète
http://en.wikipedia.org/wiki/Birmingham_ElectroAcoustic_Sound_Theatre

A Simple Sorrow, Not Mysterious

Constantinos Kontos