Neon Cleptu 17
Dreamtime journey. For this episode I like to welcome Wasp @waspfm

After hearing Wasp’s contribution for Steeplejack's Faultlines and her mix for the Rosa crew. I needed to invite the Naarm based dj. This show contains an overall glossy idm blend that debuts into a crystal clear and hypertranslucent landscape.

I'm very pleased that she participated and will be the one to guide us through her musical fascinations.

Clearlight & Owl - White mountain 
O C O S I - The Well 
éric la casa -  Everyday unknown 3
TOOL - (-) Ions
Wolne Pokoje - Kostropate B
ng2 - Flux
Fennesz - In my room 
ГИПНОША - 1.40.
ГИПНОША - 9.10
N. Brennan + Orokin - Intro - MBODJ Remix 
Chad Mossholder - Lighghthouse
Nils Quak - mode von der strange 
mtch - Circular Reantidiction 
ГИПНОША - SIDE A
mtch - Metalurgic Glassing 
mtch - Ontan Blr 
Danny Clay & Karl Fousek - Obelisk in memory of Theodosius 2
William Fields - aroc (b-p)
Soft focus - Momentum 
ГИПНОША - SIDE B
Hugo Lioret - Interstices
ARCANE WAVES - Tectonics of electric dreams part 1
Hugo Lioret - Anterieur
Hugo Lioret - Decentrement 
Æthereal Arthropod - Harvestmen 
Archidi - MaTTTaG
suunk - No one in the whole world will ever come to you 
Rachiid Paralyzing - Insoportable 
Özcan Saraç - AaAC7ES7F2n 
mtch- Drtl Oks 
Rachiid Paralyzing - Estamos tristes
Hugo Lioret - Espece
Madalyn Merkey - Click
Max Buzone - Idyll
Torpo - Induced 
Fetcho - The Dial
Heoliene - Gaussian Lounge 
Aedact― - f∞
Chad mossholder - Lus us 
Max Buzone -  Tregedie fragment 
GENEVA SKEEN - Turning of day 

Broadcasted 26.05.2022
www.lyl.live

Neon Cleptu 17 → Wasp

_ (Underscore)

live performance with percussion quartet, electronics, and video. all electronics derived from sonification of the installation file for Windows 98.

performed by Maria de la Calle, João Borralho, Ludovica Ballerina, and João Brito as part of KonStruct.23, December 8, 2022 (https://www.slagwerkdenhaag.nl/nl/producties/konstruct23). recorded by Gregor Connelly and Adam Roček, mixed by Gregor Connelly.

Untitled.exe (live, audio only) || KonStruct.23

performed live by Mivos Quartet at the Darmstadter Ferienkurse, Darmstadt, DE, August 15, 2023.

Olivia de Prato, violin
Maya Bennardo, violin
Victor Lowrie Tafoya, viola
T.J. Borden, cello

branches turned into kindling (live) || Mivos Quartet

an excerpt (last section) from the premiere of "pulled apart and yielding" on April 26, 2023, at De Roode Bioscoop in Amsterdam. composed for We Three (Teresa Costa, Rita Proença, Dafne Paris).

as a note: this piece is under revision — I wouldn't normally post just an excerpt of a piece when I'm rewriting it, but Teresa, Rita, and Dafne gave such a wonderful performance that I felt I had to share at least part of it.

pulled apart and yielding (excerpt, live) || We Three

Maison de disque – Musique Française d'Aujourd'hui

Enregistré à – CNSMD
Enregistré à – Studio 103
Fait par – Cinram
Bassoon – Laurent Appruzese* (pistes : 1)
Cello – David Simpson (2) (pistes : 2), Ladislav Szathmary (pistes : 3), Valérie Dulac (pistes : 1, 6)
Clarinet – Hervé Cligniez (pistes : 1, 6)
Composed By – Xu Yi
Conductor – Daniel Kawka (pistes : 1, 6)
Design – Agraphe*
Double Bass – Michael Chanu* (pistes : 1, 6)
Engineer [Opérateurs Du Son] – Françoise Cordey (pistes : 5), Raffi Kevorkian (pistes : 1, 4, 6), Yves Baudry (pistes : 2, 3)
Ensemble – Ensemble 2e2m (pistes : 2, 3), Ensemble Orchestral Contemporain (pistes : 1, 6), Percussions Claviers De Lyon* (pistes : 4)
Flute – Cécile Daroux (pistes : 2, 5), Fabrice Philippe (pistes : 1, 6)
Horn – Didier Mulheisen* (pistes : 1), Serge Desautels (pistes : 6)
Liner Notes – Martin Laliberté
Oboe – François Sales* (pistes : 1, 6)
Percussion – Bernard Pereira (pistes : 4), François Combémorel* (pistes : 4), François Verly (pistes : 5), Gérard Lecointe (pistes : 1, 4, 6), Henri-Charles Caget (pistes : 1, 4, 6), Jean-Luc Rimey-Meille (pistes : 4), Vincent Limouzin (pistes : 2)
Photography By [Photo Couverture] – Julie Ganzin
Photography By [Photo Intérieure] – Loan Giroudon
Producer [Direction Artistique], Edited By – Alain Duchemin (pistes : 1, 4 to 6), Michel Gache (pistes : 2, 3)
Recorded By [Prise De Son] – Christian Prévôt* (pistes : 2, 3, 5), Joël Soupiron (pistes : 1, 4, 6)
Technician [Collaboration Technique À La Réalisation] – Brian Clevinger (pistes : 6), Christophe Lebreton (pistes : 1)
Trombone – Bruno Florit (pistes : 1, 6)
Trumpet – Didier Martin (2) (pistes : 1), Hugues Joriot (pistes : 6)
Viol – Giles Deliège* (pistes : 3), Yaël Sénamaud* (pistes : 2)
Viola – Cécile Richard (pistes : 1, 6)
Violin – Alexis Galpérine* (pistes : 2), Françoise Duffaud (pistes : 3)
Violin [#1] – Jérémy Siot* (pistes : 1, 6)
Violin [#2] – Antoinette Lecampion (pistes : 1)
Le Plein Du Vide (1997) pour 14 musiciens et électronique.
Wang (1993) pour flûte, trio à cordes et percussions.
Yi (1992) pour trio à cordes.
Echo de la terre profonde (1997) pour 5 percussions.
Gu Yin (1995) pour flûte et percussion.
Xiao Yao You (1996) pour 12 instruments et électronique.

Total time 70:00

Tracks 1, 4, 6 recorded at Salle Varèse, CNSMD Lyon on October 29 and November 1, 1998.
Tracks 2 and 3 recorded at Radio France, Studio 103 on December 8 and 9, 1998.
Track 5 recorded at Radio France,

Oeuvres diverses

Le Plein du Vide - Xu Yi

"Silenti i fili tra i rami" (Silent the thread among the branches) is the result of the first experiments on relational elements inside a system, with a strong improvisational/aleatoric character in the material production. The performers listen to each others, and in accordance to what they hear, they read parts of a score that acts as a suggestion, made of fragments that they need to analyse, understand, and memorise before the performance. 
The electronic, not alien of the system, acts as an environment, that changes its characteristic in a chaotic way that is influenced by the passage of states of the piece. The performers are invited to draw inspiration from it, thus creating a structural exchange between the various parts. 

In "A più fronde" (with multiple leafy branches), the system Silenti is multiplied by two. Finding inspiration from "The Mushroom at the End of the World" By Anne Tsing, I asked myself: what does it happen if we scale a system? Are its characteristics staying the same, or we even see the emergence of new ones? Furthermore, specifically on chirality: what is the role of spacial disposition of its elements? 
The uploaded identity is one of the possible, with the two dyads in a crossed disposition. 

In the two not scaled versions, we can listen to Mathilde Lettinga at the basset horn, while respectively for each, Jasperina Verheij and Marie-Pia Le Bouteiller at the soprano recorder.
In the scaled version, we can listen to Mathilde Lettinga at the basset horn, ChangHan Huang at the tenor saxophone, Jasperina Verheij and Lara Makolle Mbella at the soprano recorders.

Silenti I Fili Tra I Rami - Mathilde Marie-Pia

Silenti I Fili Tra I Rami - A Più Fronde

2016

Gilles Grimaître - piano

Commande de ECHO et BOZAR Bruxelles

Contrapluma

Commissioned by the Lithuanian National Philharmonic for the concert series “Viva Musica Via Baltica” (Vilnius - European Capital of Culture) and composed for Sinfonietta Rīga

The structure of the two-layered score of “Elongation of Nights” reminds of the elongation of night while the day is getting shorter: one layer is setting down and getting quieter which makes way for the second layer that becomes louder and pulsates with elongating sounds. Every player has its own part (21 in total) similar to the echoes of a canon, thus such a monochromatic orchestra sounds like a utopian 84 string instrument. The harmony of the piece is based entirely on fifths, derived from the natural tuning of strings. Morton Feldman would have probably called such piece as “Fifths in my Life”.

Dedicated to autumning Vilnius.

Duration
8'30''

Recording
Released by the Lithuanian Music Information and Publishing Centre in 2010 in "Zoom in 8: new music from Lithuania".

Performers
Sinfonietta Rīga | cond. Normunds Šnē
Lithuanian Chamber Orchestra | cond. Risto Joost or Robertas Šervenikas
BBC National Orchestra of Wales | cond. Garry Walker
National Chamber Orchestra of Moldova | cond. Robertas Šervenikas
Polish Chamber Philharmonic Orchestra | cond. Rodrigo Tomillo                         
Leopoldinum Chamber Orchestra Wroclaw | cond. Ernst Kovacic                                                                           Philharmonie Brno | cond. Maciej Tworek                                                                  String Orchestra of Brooklyn | cond. Eli Spindel   

"In the music of Justė Janulytė the sound unfolds as an autonomous event, with incredible lightness, as a confluence of energies, which transform it into increasingly dilated harmonies. No beat, no apparent rhythm, just the ‘deaf’ pulsation perhaps, a downtempo, as some kinds of the electronic music are qualified; the swelling of intensities, the saturation of space, and then eventual return to the state of calm, which is already different, marked and disturbed. The importance of material that found reflection in the titles of her works: Textile (for orchestra, 2006), Aquarelle (for choir, 2007), Silence of the Falling Snow (for two pianos, 2006), Endings (for 4 saxophones, 2005)... But the most important is metamorphosis, a very personal one and therefore instantly recognisable. This is not the telluric forces in Xenakis, or the atomic process in Ligeti, but rather an irradiant form. Elongation of Nights, the second score for string orchestra after the White Music, with which the composer made her public debut in 2004, gives a good example of such radiation. Some kind of timeless, floating metamorphosis. A strikingly innovative dramaturgy of sound..." Antoine Gindt | MUSICA festival brochure, 2011 

http://www.janulyte.info/en/works/elongation-of-nights/        

"Elongation of Nights" for string orchestra (2009)

Komorebi

L’Ensemble 2e2m est l’un des plus anciens et des plus prestigieux ensembles français consacrés à la création musicale d’aujourd’hui. Le sigle qui le désigne et qui signifie « études et expressions des modes musicaux » est devenu un acronyme – mieux, une devise garante de pluralisme et d’ouverture. Manière de dire que l’Ensemble n’a rien ignoré de ce qui s’est pratiqué depuis plus de quatre décennies.

Avec plus de six cents partitions créées à son actif, 2e2m révèle aux publics nombre de compositeurs considérés comme essentiels et constitue un répertoire d’œuvres qui deviennent des jalons.

Labellisé CERNI (Compagnies et Ensembles à Rayonnement National et International) par le ministère de la Culture et de la Communication, 2e2m est un interprète incontournable des scènes nationales et internationales. Parcourant l’éventail de tous les styles – classique, moderne et actuel – l’ensemble est un acteur majeur des nouvelles mixités artistiques.

____________


2e2m is one of the first and most prestigious French ensembles dedicated to today's musical creation. With several hundred premieres to its credits, the Ensemble is a major performer on the national and international music scenes.

Since its creation in 1972 by French composer Paul Méfano, 2e2m has innovated over and over and holds a leading role in the field of contemporary musical creation.

Based in the Paris region since its creation, the Ensemble develops an active work on the local territory, focused on the creation and the promotion of music. Concerts, educational projects, public rehearsals, meetings with composers and performers are as many ways for audiences to discover works, to experiment and to build a close connection with the creators.

Fifty years after its creation, 2e2m is still dedicated to its vocation: to explore - by being open to a wide range of aesthetics – and to share with the audiences – thanks mainly to a deep and lasting artistic and human relationship with composers, artists and performers.

Le Plein du Vide - Xu Yi

Ensemble 2e2m

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