"EMDR" by Augustus Arnone, an electronic composition realized with modular synthesizers.

Augustus Arnone: EMDR

studio Mastering: lorenzotarghetta@gmail.com
Piece for solo guitare played by Carlo Siega
Score available here: https://www.babelscores.com/catalogs/instrumental/8046-de-toucher-de-lignes8046

de toucher de lignes - (2021 solo E-guitar)

for two pianos and two percussion
live recording of dress rehearsal from BPP concert, at Konzerthaus in Berlin, on Jan 19 2022

Hinterland

YOU CRACK ME UP

(PLEASE LISTEN WITH HEADPHONES) 

Inspired by my residency at Bogliasco Foundation in April/May 2022 and my stay in the Chalet della Musica.

Thanks to the Lydian String quartet for their beautiful recording of an earlier piece of mine that found its way into this.

Vista Dal Giardino Di Bogliasco (Chasalow 2022)

copyright 2022 Suspicious Motives Music (ASCAP)

What Shade of Green is Our Horizon? 

(a sound piece to accompany Lisa D. Watson’s Avant Gardener)

created with the support of a Bogliasco Foundation Fellowship.

Lisa and I met while we were both artists-in-residence at The Studios of Key West in February 2022. My work has been increasingly engaged with our climate crisis and I quickly appreciated the way in which Lisa’s work seeks a positive approach to this monumental problem. So when she asked if I would create a sound piece for her upcoming show, I was very pleased.

Formative parts of my life, including my early childhood, were spent on the coast, experiencing and learning about the marine environment. My father’s work in submarine defense took my family to Key West and Bermuda, making my recent residency a moving return.  In college, I spent time doing benthic field research and I came very close to becoming a marine biologist. Over the course of my professional life in music, I have found it hard to see how pursuits in music and biology might connect – until recently. I now realize that the library of field recordings I have accumulated over many years of work in electroacoustic music have been waiting for me to see how they might become sound pieces. And having bookended the past seven years with transformative residencies on the Mediterranean and the Gulf of Mexico has inspired a new kind of work.  These pieces can be conceived of in narrative form, for the concert hall, but alternative forms – sound art - are now emerging from my process and these more properly occupy gallery spaces. 

In contrast to a piece of music, played in a concert hall to a seated audience, sound art acknowledges that the listener comes and goes at will. This shifts how artists can think about the possibility of narrative form – of “beginning, middle, end” through the journey of listening. What Shade of Green is Our Horizon? consists of a forty-two minute long piece that is continuously played as a loop in the gallery space. My intention is to color and heighten the experience of Lisa’s installation. However, if one did wish to sit, meditatively, from the beginning to the end of my piece, they would find that there is a large-scale narrative too and that alternative experience is also valid. 

What Shade of Green is Our Horizon? is a kind of aural land and seascape. The background throughout is a prayerful stretched chorale in G major for string quartet that progresses ever so slowly. Interacting with the harmony of this background one hears some recognizable environmental sounds, but also sounds at the threshold of recognition, abstract, yet somehow organic and capable of igniting a personal response.

What Shade of Green is Our Horizon? was created with the support of a Bogliasco Foundation Fellowship.

What Shade Of Green Is Our Horizon? - sound piece for museum space

Philipp Stauedlin, alto saxophone

CD release May 19, 2015

copyright 2015 Suspicious Motives Records (ASCAP) all rights reserved

Are You Radioactive, Pal? (alto saxophone and tape)

This work was improvised using sliders and button controls in a MaxMSP patch, the sliders and buttons controlling parameters to music-generating algorithms I devised and programmed in rtcmix~.  The rtcmix (real-time cmix) object runs in a loop whose input variables are adjusted in real-time. I call it comprovisation.
The parameters control such features as harmony/melody (pitch material) as well as texture, rhythm, tempo, and so forth.

Licorice Loops No.2 (2013)

Truth And Beauty (2010)

Undertow was commissioned by the Ernst von Siemens Music Foundation for the 2018 Delian Academy for New Music and Hugo Queirós. It premiered at the 2018 Delian Academy for New Music in Mykonos, Greece. This performance features Hugo Queirós on bass clarinet.

Special thanks to Heather Roche for sharing her amazing extended technique repositories (heatherroche.net), to Derek Emch for providing extended techniques feedback and recordings, and to Hugo Queirós for helping refine the final version.

Undertow

WWW.ERICCHASALOW.COM

Please try to listen to music with reasonable speakers or headphones. Be aware that this music has lots of subtleties and your experience of it is highly compromised when reproduced through phone speakers, computer speakers or cheap earbuds


Eric Chasalow is a composer known for both electro-acoustic music and music for traditional instruments.  Among the last generation to work at the original Columbia-Princeton Electronic Music Center, since 1990 he has directed BEAMS, the Brandeis Electro-Acoustic Music Studio. Eric’s music is programmed throughout the world and he holds awards from the Guggenheim Foundation, the National Endowment for the Arts, and the American Academy of Arts and Letters.  The Library of Congress established an Eric Chasalow Collection in 2009, and his music may be found on a number of record labels, including New World Records, and his own, Suspicious Motives Records.  A library edition of his complete works for solo instrument and electronics was released in 2015 for his 60th birthday (available through Tfront.com).

Eric is the Irving G. Fine Professor of Music and the Dean of the Graduate School of Arts and Sciences at Brandeis University.