DESERTS, by Edgard Varèse, part IV ASKO Ensemble, CLIFF CREGO conducting

ASKO Ensemble, w/ CLIFF CREGO conducting. PART IV begins just as the second tape interpolation ends. The transition should be seamless. Listen for the high g crescendo into the initial attack to the snare drums...

One of the many fragmentations of Western musical practice, as we know it, is the fragmentation of sound and place and time of year. I think that is a mistake. The energy of a piece, if its good, if its powerful, naturally resonates with, or is "in tune" with certain times of day and year. DESERTS, for me, has always been such "a winter" piece. It's a vision of a new musical world with unsurpassed richness of composite sound and rhythmic primal corporeal complexity that seems all the more remarkable if it's played well under the faintly returning light of distant stars. See what you think . . .

There are many reasons why the music of Varese is still important, still relevant. ONE, is an unsurpassed sense of natural complexity in composite sound, that is, sounds within sounds within sounds. Like Ives & Stravinsky, Varese was never handicapped by what I would call the deadend path and way of thinking of Schoenberg and the Vienna school. ANOTHER, is voice. Both of the INDIVIDUAL, and the COLLECTIVE. The music is always fulling visceral and embodied. Indeed, this intensely primal vocal quality is one of its key features, and also what is most lacking in current contemporary performance practice generally. A THIRD which might be mentioned briefly, is geometric tempi relationships. RELATIONSHIP--in Time & Space, in Rhythm & Sound--is everything in DESERTS. From beginning to end.

DESERTS, by Edgar Varèse, for small orchestra & tape (part 4, CLIFF CREGO conducting

The Unnamable
concerto for orchestra, celesta, crotales and baritone
May - October 2022
Matthew Lee Knowles

"Lies, lies, mine was not to know, nor to judge, nor to rail, but to go"
-Samuel Beckett, The Unnamable (1953)

SCORE
https://www.scribd.com/document/612052358/The-Unnamable

The Unnamable (2022)

for Accordion, marimbone and Vibraphone 2021

Temporary realization (yet to be performed live)
Carlo Sampaolesi, accordion
Gioele Balestrini, marimbone and vibraphone

A Margine del Canto

Song: TEMA DELLA FORESTA DI ARDEN
Album: COME VI PIACE (2016)

Original music by Dario Buccino for the theatre play "Come vi piace" by William Shakespeare
Translated, adaptated and directed by Leo Muscato
A Teatro Stabile di Torino production

Dario Buccino, acoustic guitar

Recorded live at Teatro Carignano, Torino, by Claudio Tortorici
Mixed by Federico Calvara at Noise Factory

Photo by Alfredo Tabocchini
Graphics by Nicola Cioce

Come vi piace (2016) [Album] | 2. Tema della foresta di Arden | Solo acoustic guitar

Gheychak, Piano, Guitar, Double Bass, Cajon, Recorder, Violins,Accordion By : Nancy Mounir 
Oud : yassmine baramawy 
Djembe : Wael Elsayed 

Home Recording 

Special thanks for :
 Eslam El Shaary 
Yasmine Baramawy 
Wael El Sayed 
Shady Habash 

Mashi

Àphones (2011), for 17 musicians
Orchestre du Conservatoire de Paris
conducted by Tito Ceccherini

Clara Iannotta "Àphones" (2011), for 17 musicians

Séverine Ballon,  composition and performance

Inconnaissance

for four voices

The first prize of Hof Klang 2012, Leipzig, Germany. 

Voice Quartet (2012) for four voices

Adding drums to this new track really takes it to another level!

Cordless Kite (with drums)

"Transitori permanenti" is dedicated to the victims of the Bologna massacre (2-8-1980). The 85 harmonies of the piece (and the connected rhythmic patterns) are derived from their names, as if they were pronounced by the instruments of the orchestra.
The five displaced wind instruments are coupled with the five solos of the Strings, to symbolically represent the "cori battenti" technique between the two organs in Basilica of St. Petronius.

Orchestra del Teatro Comunale di Bologna 
 Yoichi Sugiyama, conductor 

Teatro Auditorium Manzoni di Bologna
2-8- 2019

concorso 2 agosto 2019

Transitori permanenti, for orchestra (2019)

"Control Room" -- simulation

by Eduardo Moguillansky

This is a simulation for a project called "Control Room".

more info: www.moguillansky.info/controlroom


Control Room -- Simulation

Composer, performer, teacher and designer of musical instruments.

His training includes composition studies at the Milan Conservatory, musical analysis and electronic music at the Civica Scuola di Musica in Milan, advanced courses in Europe, studies in the field of theatre and performing arts.

His works combine music composition, performance art, sound sculpture, and have been presented in Europe, the United States, China.

In the early 1990s he created the HN System® for the composition of physical, mental, emotional performative processes.

In 1994 he was a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, where he presented the HN System, defined by Heinz-Klaus Metzger as «the most surprising artistic invention of the last 15 years».

He designed the HN Percussion®, musical instruments that involve the performer’s entire body.

He conducts workshops at conservatories and universities.

His music is the subject of academic papers, theses, documentary films.

Come vi piace (2016) [Album] | 2. Tema della foresta di Arden | Solo acoustic guitar

Dario Buccino

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