KOPKO PROJECT - The Soviet Version

Phi Bui - Bley Thoughts
For piano and sampler
Performed by George Fu

For more details and score: https://ram.ac.uk/multimedia/bley-thoughts

About 200 PIECES:

As part of its Bicentenary celebrations, the Royal Academy of Music embarked on an ambitious project, inviting 200 composers to write 200 new works for solo instrument or voice. The recordings and scores for these works, written for every principal study instrument taught at the Academy, are now available, creating a new library of varied contemporary works by many of the world’s leading composers.
ram.ac.uk/200-pieces

Bley Thoughts

Bui - Bley Thoughts

Chen Yi - Mountain Song
For solo oboe
Performed by Fergus McCready

For more details and score: https://www.ram.ac.uk/multimedia/mountain-song

About 200 PIECES:

As part of its Bicentenary celebrations, the Royal Academy of Music embarked on an ambitious project, inviting 200 composers to write 200 new works for solo instrument or voice. The recordings and scores for these works, written for every principal study instrument taught at the Academy, are now available, creating a new library of varied contemporary works by many of the world’s leading composers.
ram.ac.uk/200-pieces

Mountain Song

Yi - Mountain Song

Jay_Electronica_better_in_tune_w_the_infinite_ft._LaTonya_Givens

Performed by the New York City Ballet Orchestra featuring saxophonist Chris Hemingway, May 2023

Standard Deviation - ballet for saxophone & orchestra

Intermezzo from Brahms' Fantasies Op. 116 for Piano.

Intermezzo, Andantino Teneramente - J. Brahms

Still Grxw

Video: https://www.youtube.com/watch?v=xG3XXq8_01w

The immediate inspiration for my 'Fragment 16 (Xenogothic Triple Canon)' was a piece by the composer Matt Barber (https://soundcloud.com/brbrofsvl ) titled 'Prelude and Canon for Wind Quintet' ( which you can listen to here: https://www.youtube.com/watch?v=vhKDdcFm8l0 ). The title belies his piece's compositional virtuosity: the canon is in five different superimposed speeds, and uses late romantic tonal language. It caused quite a stir at Eastman when it was first played there, despite its short length. Matt's musicianship has been inspirational to me since I was 18 years old, and in some ways I feel like I am always several steps behind him. So I also wanted to write a polytempic canon in a historical contrapuntal style, and Avignon around 1370 was my target.

I failed, quickly: my piece is not strictly in three different consistent speeds (much too difficult), but the melodies in each voice, otherwise all direct copies of one another, do get pervasively pushed and pulled like taffy into and out of shifting speeds. I partly attribute my failure to my beloved teacher, Jean-François Charles, who suggested “Why not write a canon at the [melodic distance of a] 7th? ”, suggesting that canons at the 5th and octave were rather passé. I took him up on this, but it made life harder. For example, for technical reasons, descending scales were now basically off limits, and descending sixths become sort-of necessary as an escape hatch, both features which were uncommon in the melodic style of the medieval period. Nevertheless, it was great fun getting the piece to sound as 'medieval' as possible given these constraints. I can't take credit for the coinage 'Xenogothic'; that honor belongs to microtonal theorist and composer Margo Schulter (https://www.bestii.com/~mschulter/QuickTour.html). Please look up her and Matt's music if you get the chance.

Thanks to the JACK Quartet  for this wonderful performance.

KOPKO PROJECT vs. THX vs. DANIEL DE TOGNI- Here Comes The Snake

Daniel De Togni