The electronic part makes no use of pre-recorded sounds and solely reproduces in different ways the music played by the clarinetist. Consequently, the electronic medium becomes shadows, stains, and trails left behind by the performer.

My greatest thanks to Brandon Blakenship for being a wonderful friend and putting his time into operating the live electronics and engineering this recording.

Shadows, Stains, Trails (2013) for clarinet and live electronics

Recording from 2014 Atlantic Music Festival.

Performed by AMF Contemporary Ensemble.
Mark Biggins, conductor
Zach Sheets, flute
Vicente Alexim, clarinet
Andy Miller, percussion
Magda Wajdzik, piano
Julia Glenn, violin
Maria Hadge, cello

"It is therefore not a dense, opaque melancholy, but a veil of minute particles of humors and sensations, a fine dust of atoms, like everything else that goes to make up the ultimate substance of the multiplicity of things"
-Italo Calvino, Six Memos for the Next Millennium (1985)

On the Substance of Multiplicity - 2014 Atlantic Music Festival Contemporary Ensemble

All tracks performed and recorded by Laura Cocks at CIRM in Nice, France.

Atolls is for solo piccolo and twenty-nine spatialized piccolos. The  auxiliary performers surround the soloist and the audience. The pitch content is derived from the  twenty-nine most salient spectral components of a crash cymbal occurring (and analyzed) within  the shrill range of Janet Leigh's infamous scream from Hitchcock’s Psycho.

lauracocks.biz
davidbird.tv

Atolls - for Solo Piccolo and 29 Spatialized Piccolos

NDR-Symphonieorchester, Hamburg
Knut Hasselmann, Horn
Dir.: Lucas Vis

KONZERT für Horn und Orchester (1988/89)

In the bel canto repertoire, ornamentation, improvisation, and virtuosity are a singer’s calling card, and audiences wait to hear what new vocal tricks a singer will bring to a role. But how do we know what is an acceptable, or stylistically appropriate ornament, and what would sound out of place? What did composers of the time expect singers to do? In this episode, lecturer Matthew Timmermans is back to guide us through the art of beautiful singing in the bel canto!

Ep. 108: Performing Bel Canto - Do's, Don'ts, and Maybes - Part 1, with Matthew Timmermans

LIGEIA, for invisible soprano, ensemble and surround sound. By Ewa Trębacz.  Live concert recording, June 30, 2018, New York City. Ensemble Mise-En, Moon Young Ha - conductor. Electronic layer: Anna Niedźwiedź, soprano, Josiah Boothby, French horn, Ewa Trębacz, violin.

LIGEIA, performed by Ensemble Mise-En

WORLD PREMIERE! Brandon Blankenship, bassoon. Mivos Quartet. 
Violet Light, by Rex Isenberg.

Notes:
It's about a composer and bassoonist Deolus "Decie" Husband and Edwin Alexander who met at MSM in the 70's . They lived great lives together, active in the Washington Heights community, and the NYC music community. The composer was writing a piece for the bassoonist and a string quartet, but they both died of AIDS before the piece could ever be finished. In memory, their family established a fund to sponsor composers at MSM, which Rex then won, not knowing anything of their story until after he had already graduated. He then met a mutual friend, who told him all of the husbands' story. Rex, a gay composer himself, felt so moved to write a piece with the same orchestration, allowing their story to live forever. Their love story seems to be told through each movement, meeting in flamboyant gestures, sweeping, harp-like scales, heart flutters in trills. In Merengue, their life was a fun dance, sometimes more difficult and less fun, but they always did it together. And finally, their loss of each other to the AIDS crisis. The fight against the disease in the last section of Elegy, and the final call to be remembered in the very last measure. 

01 Encounters

Merideth Hite, oboe; Elizabeth Fleming Martignetti, horn; Jessica Osborne, piano
recorded live, February 23, 2008, copyright Fred Plaut Recording Studio, Yale School of Music

Reinecke: Trio for Oboe, Horn, and Piano in A minor, Op. 188, III. Adagio

Elizabeth Fleming

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