Fuse, Charge, Break was originally composed with the idea of emulating the sound of a single firework, gradually morphing into a bombastic firework show. The final version of the piece decided to go its own way, but what remains is nevertheless an explosive show piece for orchestra. The music explores a variety of musical metaphors and textures for a firework, such as a lit fuse, a fast ascent into the sky, a slow whistling descent, and the inevitable "break" of the casing.

Recorded during the Toledo Symphony Reading Session at Bowling Green State University on 3/15/22

Fuse, Charge, Break

“Appellations que vous trouverez ci‐après, dans ce Livre: de même que la véritable composition de la Verge Foudroyante, et ses effets qui font trembles les Esprits, et dont Dieu se servit pour armer son Ange, qui chassa Adam et Eve du paradis terrestre, et de laquelle Dieu frappa les Anges rebelles, précipitant leur orgueils dans des Abymes les plus épouvantables, par la force de cette Verge qui forme des nuées, qui disperse les ouragans et les fait tomber sur quelle partie de la Terre que vous voulez.” ‐ J. Karter

“Appellations that you will find below, in this Book: as well as the true composition of the Lightning Rod, and its effects which make the Spirits tremble, and which God used to arm his Angel, who expelled Adam and Eve of the earthly paradise, and with which God struck the rebellious Angels, rushing their pride into the most dreadful Abysses, by the force of this Rod which forms clouds, which scatters hurricanes and causes them to fall on what part of the Earth you wish.”
‐ J. Karter ( English approximation )

la Verge Foudroyante was recorded by Irvine Arditti in Salon Brahms, Vienna, Austria, 29th June 2022.

la Verge Foudroyante, for violin solo

25.22.2014
Festival “PIANO+”, IMATRONIC, ZKM, Karlsruhe, Germany
“GAMEBOY” [WP]
Sebastian Berweck – voice + sampler
Sebastian Schottke – sound direction


Jagoda Szmytka: GAMEBOY - excerpt (2014) for sampler, voice and video projections

One solo track of my latest solo projects Failure Circle (using only a no-input mixer and effects)
https://kecaptuyul.wordpress.com/solo-projects/failure-circle/
On this track I was trying to make some ugly chaotic noise but something else emerged...so I've let it grow...before it turned to something else again
Picture by JJGfree taken during Failure's Circle first live show
https://eg0cide.com/2018/03/10/eg0_174-sdt1/

Failure Circle - A Mistake Within A Mistake

[re]Glossolalia, Note:
Updated: June 20, 2018

Written in 2018, [re]Glossolalia was composed as a companion work to another composition of mine from early 2017 for alto saxophone and live electronics. Both pieces heavily critique the sometimes insidious and subversive nature of late-night rural US radio broadcasts, utilizing excerpts recorded from a circuit-bent radio. The broadcasts used in this piece vary in content, covering topics such as: predicting the United States’ role in bringing about the biblical apocalypse, why monetary donations earn entry into the afterlife, to the “comforts” of mutually assured destruction, and so on. Compositionally, the piece presents an unpredictable, dense, and continuously fracturing interpretation and dialogue of that radio content – exploring the balance between real and imaginary sound worlds in a type of liminal space. The sonic materials for [re]Glossolalia were created and transformed using custom-written granular synthesis programs, duffing oscillator synthesis, FM synthesis, and through hardware hacking.

Please note: I don’t intend for this piece to present a prescriptive worldview, or condemnation of socio-political affiliation and / or religious beliefs. However, I do intend to utilize this as a platform in which I can bring blind hatred, anti-intellectualism, and dangerous zealotry under scrutiny.

-

A further element of this work is the installation portion, which was placed in the Talbot Rice Gallery stairwell and elevator entry routes.  These placed fractured elements derived from this composition within the space of the gallery as "echoes" which inhabited the gallery.

[re]Glossolalia (2018)

Connotations (2015) for string orchestra and electronics
Total Duration 9' minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Connotations [string orch & elec]

Written in 2019, ISOLATE was composed as the first piece written exclusively for performance with my handmade electronics performance interface Master Hand, also known as “Franky”.

In this work I am exploring compositional concepts such as performer agency in live electronic music, the use of harshly juxtaposed sonic elements, complex / nested gestural materials, and an investigation of density and texture in higher-order ambisonics. In regards to the sounds themselves, the materials used to create this composition are widely varied and range from closely recorded vocal samples (breath, vocal fry, and so on) to more intense methods of digital synthesis such as granular synthesis and Tom Mudd’s gutter synthesis. The result of all of these factors is a work which inhabits both periods of near stasis and the highly chaotic, in which musical materials and gestures continuously fracture and constellate. ISOLATE is presented in mixed-order ambisonics; many elements are generated in real- time, which are diffused and output natively in fifth-order ambisonics. Meanwhile, there are fixed-media cues which, using Master Hand are further manipulated and diffused in first-order ambisonics.

In regards to the interface itself, “Franky” is a real-time electronics performance interface developed for implementation with Max/MSP and Wekinator. Originally designed as a spin on the core design concepts of video game controllers, such as the failed Nintendo Power Glove, this interface makes use of a specially made glove and exoskeleton which places five small 2-axis control sticks at the user’s fingertips, alongside of a ribbon sensor and a 3-axis gyroscope. With some practice, this type of interface allows for nuanced control over various parameters in a performance system. Beyond the sensors and interface, this system is further augmented both by carefully tuned mappings, and by the implementation of Wekinator as a platform for building gesture recognition using machine learning. This build of the interface is the second iteration in what is currently planned as an ongoing project.

ISOLATE (2019) // Binaural Audio

song cycle for autotuned mezzo-soprano, keyboard, and electronics. Performed by Andrea Camacho.

II. Suau

I. Necesito Refrenarme

Cory Brodack (b.1997) is a composer from the St. Louis area. He writes both electronic and acoustic music, inspired by aspects of the human condition and the unique connection between performer, score, and audience. Brodack’s awards include the Rudolf Nissim Prize, an honorable mention in the American Prize, and ECU's Orchestra Composition Competition. Performers of his music include the Metropolitan Orchestra of St. Louis, Andrew Pelletier, David Bohn, and Daniel Anastasio. He earned his bachelor's from SIUE, and is currently pursuing his MM at BGSU.

Fuse, Charge, Break

Cory Brodack

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