All I Heard Was Nothing

Improvisation with electronics ( Max/MSP with IRCAM's "MO" Sensor) written and performed by Sam Jones. July 31st, 2014 at the Future Music Lab, a collaboration with IRCAM.

Thanks to my teacher Mari Kimura (also for filming this) as well as Tom Zicarelli and Jean-Baptiste Barrière.

Sam Jones SHIFT, for improvisation and electronics

volcanic ash of new album MOONBEAMMOTHERSHIP

VOLCANIC ASHES

Spread; 5-21-16.

300 notes in 4 minutes, a brand new composition by Karlheinz Essl played on a Steinway piano with depressed sustain pedal.

Score available for free: http://www.essl.at

Although notated solely in quavers, the tempo encompasses a wide range from very slow to extremely fast. Starting with a speed of MM = 50, it gradually accelerates to MM = 400 which equals three “time octaves”, speaking with Karlheinz Stockhausen (cf. his famous article ...how time passes... from 1957). A similar transition also happens in the harmonic domain where the range of three octaves (from F to f”) finally collapses into a single pitch (f'):

And also in the dynamics, a permanent process of crescendo and diminuendo takes place. Needless to mention, all this processes happen simultaneously at the same time. Despite its strict structure, the piece should be played in a fluent rubato attitude with lots of espressivo.

Prpduced by Karlheinz Essl on January 9th, 2019 at Studio kHz. Binaural recording - listen with headphones.

Trois cent notes pour piano

Info

Trois cent notes (2019) for piano - BINAURAL

Very Far Away

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble - live-recording

This work explores the micro-synchronicity within a pulsation to create timbral and musical situations that are:
organic and/or synthetic,
mechanical and/or lyrical,
symmetrical and/or asymmetrical,
integrated and/or separated,
on-the-beat and/or off-the-beat,



Performers: Turning Point Ensemble
Conductor: Owen Underhill
Electronics: Anthony Tan

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble

As a human being, I have fetters. 
Bliss Perry criticized that “They love to dance in these fetters, and even when wearing the same fetters as another poet.” about the influence between poets. But I have another comprehension of “Dancing in fetters”. It could also be the optimistic attitude towards life.
People have various sorts of fetters, fetters of lust and passion, fetters of the limitation in knowledge, fetters of relationship, fetters of government, fetters of social environment, fetters of the times.. They could have thousands of complaints about the circumstances around. Nevertheless, they can also keep a positive attitude under the burdens and still be able to dance in my life philosophically. I suppose it will be the most elegant dance ever, reflecting the wisdom and talent of human.

cover via Cenalu

Fetters(2018)

"Oscillation occurs naturally, abruptly and resonately. 

I intend to demonstrate certain forms of Oscillations. It could be the train whistle declaring departure or the siren roaring past. It could be the ring tone that will never be answered, the memory that cannot be reproduced. Possibly, it could be the clash as it falls inward or the groan as it spreads widely.

In this piece, Oscillation is the vibration of individual instruments and groups of instruments; it is a big crescendo. It need not be embellished, as, when it comes, it is only Oscillation which exists."

Samantha White, Bethany Mclean, Flute
Olivia Guan, Evelyn Ha, Oboe
Cosmos Fristachi, Chun Yip Ho, Clarinet
Tyler Neidermayer, Bass Clarinet
Galo Morales, Tyler Sakow, Alto Saxophone
Laura Bibbs, Trumpet
Joshua Mirman, Trombone
Daniel Matei, Timpani
Jerome Gillespie, Jr., Matanda Keys, Drum Kit
Madeline Hocking, Ziqing Guo, Violin
Ruisi Doris Du, Viola
Hyeonji Lee, Ida Norby, Violoncello
Matthew Jamal, Contrabass
Strucky Yi, Conductor

Recorded in Ades performance space

Oscillation for large ensemble and two drum kits(2019)

Sound of Trees is an ecoscape that explores all natural materials as musical instrument. The beginning is an amplified river rock while grinding a sumi ink stick on it. Water pours and the ink spills onto the rice paper. Also features a maple copter kalimba and amplified driftwood.

Sound Of Trees

Impressions of Ancient Earth is a musical tableaux depicting "pivotal" moments in the evolution of earthly consciousness.

"Morningtide Pandemonium" paints the picture of all natural things finding their voice or rather it portraits the discovery of the perception of sound.

Prepared Piano - Elizabeth A. Baker
Percussion - John Macdonald
Compositions - Elizabeth A. Baker
Engineering - John Macdonald & Elizabeth A. Baker

Impressions of Ancient Earth - II. Morningtide Pandemonium

Eschewing the collection of traditional titles that describe single elements of her body of work, The Honourable Elizabeth A. Baker refers to herself as a “New Renaissance Artist” that embraces a constant stream of change and rebirth in practice, which expands into a variety of media, chiefly an exploration of how sonic and spatial worlds can be manipulated to personify a variety of philosophies and principles both tangible as well as intangible. Elizabeth has received recognition from press as well as scholars, for her conceptual compositions and commitment to inclusive programming. In addition to studies of her work, Elizabeth has been awarded several fellowships, grants, and residencies, in addition to sponsorships from Schoenhut Piano Company and Source Audio LLC. As an experimental filmmaker, her work has been shown at festivals including Women of the Lens (United Kingdom), and the African Smartphone International Film Festival (Nigeria). As a solo recording artist, Elizabeth is represented by Aerocade Music, her first solo album on the California-based label Quadrivium released worldwide in 2018 to rave reviews. She founded the Florida International Toy Piano Festival, The New Music Conflagration, Inc., is author of three books including The Resonant Life: Attack, Decay, Sustain, Release, Resonate., and the subject of a number of scholarly articles, thesis papers, and other academic research internationally. In 2018, Elizabeth retired from nonprofit arts administration to focus on her international solo career, though she remains committed to the community through workshops and public speaking engagements. Elizabeth is a recipient of multiple Individual Artist Grant awards from the State of Florida as well as a commission for The Great Black Music Ensemble through the American Composers Forum (ACF) Connect programme in partnership with The Association for the Advancement of Creative Musicians (AACM Chicago), recently premiered in Chicago and selected as one of “Chicago's Top 10 for classical music, opera and jazz”  in 2021 by the Chicago Tribune. Her 2022-2023 calendar includes commissions from large ensembles, chamber groups, and solo artists across North America and Europe alongside solo performances and guest lectures.
In 2021, was awarded a fellowship at the Harvard Radcliffe Institute for Advanced Study, where she is exploring concepts of centring human narrative through audiovisual in a continuation of her FIELD STUDIES project as well as through the exploration of sound liberated from the specificity of human language through her forthcoming solo album AGGRESSIVE PILLOW TALK.

Impressions of Ancient Earth - II. Morningtide Pandemonium

The Honourable Elizabeth A. Baker

Recent comments

Lowflyer

Related tracks