edition 1/f

Written for and performed by pianist Ben Smith at 'MUSICON: Eternal Returns' on 9.6.2021.

Many thanks to Simone Tarsitani, Eric Egan and Musicon, Durham University for the recording.

Watch the full concert here: https://www.youtube.com/watch?v=gZX8WNkc2VM&t=1527s

This piece is in dialogue with an earlier work of mine, 'flicker': https://www.youtube.com/watch?v=o4RQoseTp7Y

flare (2021)

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)

NOTE: Please listen on headphones or speakers with big low end.

Stircrazer II for solo cello + live mechanics (2013)

One Is Too Few, for prepared piano.
Performed by Kate Ledger.

Read about the piece: https://micheleabondano.com/2022/09/13/one-is-too-few/

Score: https://www.babelscores.com/catalogs/instrumental/7785-one-is-too-few

*Recording of the premiere at University of Texas Rio Grande Valley, September 2022.

One Is Too Few (2022) | Michele Abondano

Japanese sound artist @yosuketokunaga debuts on @entangledvisions with "6 Lengths". Hazy synths and crackling ambiences appear and disappear over wide horizons of sound, resulting in a courtly and fascinating piece of sound research.

The abstract scenarios created by Tokunaga carry the listener towards gentle and meditative places, acting as sensorial bridges between reality and dreams.


Mastered by: Alberto Bertelli
Artwork by: Enrico Caldini
Format: Digital, Vinyl
Release Date: March 15th, 2023


Tracklist:

1 L engths
2 Le ngths
3 Len gths
4 Leng ths
5 Lengt hs
6 Length s

Support the artist

Premiere - Yosuke Tokunaga - Le ngths (Entangled Visions)

Strintrio II – friction 
for sringtrio 1995 – 97

The starting-point for friction was an observation of the conditions under which tones are produced on string instruments, which yielded material illuminating these conditions.  Stroke speed, pressure (i.e. the physical conditions) and also the material properties were brought into a relationship with one another, which on the one hand takes on the form of a concise sound progression and on the other hand reflects the fundamental conditions governing this set of instruments.  In the course of the piece this material framework is stressed in both directions: the progression of sounds and the events that constitute it are analysed by means of isolation and maximisation processes through which they undergo qualitative changes.  The analysis is conducted from the point of view of the frictional conditions, and this viewpoint becomes itself the object of compositional analysis by way of the elements that represent it. 
 
Analysing all the material and formal qualities relevant for perception (from the point of view of the frictional conditions) constitutes the attempt to draw upon fundamental conditions for the conception of music.  The goal is to grasp also the conditions of perception- of listening.  It is the attempt to make listening directly thematic: listening as an absolute event, listening as a socially conditioned event and listening as a creative act on the part of the listener.  It seems to me that the direct questioning of these phenomena through the tonal reality of music is the only way to work on renewing the act of listening.

Chambermusic I

Streichtrio II (Friktion) 1995/97 [22:15]

SUBMERSION - PREDAWN

Streamed in August 2023 on Etc Radio—hosted by m50 (Kimochi Sound).

Submersion - Collage 06 (04) "Pre-waking"
Submersion - Collage 03 (04)
Submersion - Lake Michigan 4 (9/2022)
Submersion - Untitled (12/2022)
Submersion - Inward II (Tonal) (2021)
Submersion - Cicadas (8/2020)
Submersion - Collage 05 (03) "4:30 AM"
Aura Minimum - Time Back [Transmutation I] (2023)
Submersion - Expansion of a Moment (2021)
Aura Fresh - Ether (2022)
Taction - Barrier 3 (2023)
Svreca - Nida (Artefakt Remix) (2020)
Submersion - Inward IV (Tonal) (2023)
Submersion - Predawn (2023)
Submersion - Collage 12 (03) "Liminal"
Submersion - Untitled (Reprocess) (2022)
Forest Drive West - Anchor (2022)
Vril & Rødhåd - Geomantic (2020)
Submersion - Collage 02 (02) "Post-waking"
Submersion - Collage 04 (02)
Submersion - Storm (4/2013)
Submersion - Cochlea

01:04:56
08/15/23

https://submersion.info
https://audio.submersion.info
https://soundcloud.com/submersion

https://m50.net
https://kimochi.bandcamp.com
https://soundcloud.com/m50

Info

Predawn (Etc Radio) 8/25/23

Emma Lloyd, violin
Lisa Robertson, violin
Katherine Wren, viola
Laura Sergeant, cello

Supported by the Fenton Arts Trust.

Scottish Music Centre
Glasgow, Scotland
June 22, 2023

at the still point [2023]

Samuel Vriezen, Dante Boon (two pianos)

first performance

Pianola Museum, Amsterdam
January 17, 2019

Dante Boon - Gaza (2018)

performed by Reinier van Houdt 
(roughly) recorded in the Hague, nov.02.2023, Zaal 3, during one of the stormiest nights of the year 
mixed & mastered by Lilita Dunska 

the piece may be performed on piano and/or guitar

for siblings (tempered)

New wars are raging, now in Gaza, I wish I could hug all the people who suffer them in first person, for all the hugs not given. Hold me close.


SI DEBO MORIR

Si debo morir, tú debes vivir para contar mi historia,  para vender mis cosas, comprar un trozo de tela y algunas cuerdas, (hazlo blanco con una cola larga) para que un niño, en algún lugar de Gaza…

mientras mira el cielo a los ojos esperando a su padre que se fue en llamas —y no te despidas de nadie, ni siquiera a su carne, ni siquiera a si mismo— Ve la cometa, mi cometa que tú hiciste, volando arriba  y piensa por un momento que un ángel está ahí, trae de vuelta el amor.

1979-2023 Refaat Alareer

Si debo morir  deja que traiga esperanza… deja que sea un cuento.

Artwork cover by aura.songs

Hold Me Close

hold me close

enclosures, for chamber ensemble and electronics, explores a combination of reverberant spaces via custom reverbs that echo, mimic and allude to different sections of Bachelard’s Poetics of Space. 

The tape brings together a collection of convolution reverbs containing impulse responses I have collected from my home, environment, and most intimately, from my body. The piece is made up of three movements with live electronics that act as scaffolding for the ensemble to inhabit. The score unfolds in loose time, asking performers to activate each of these three environments using their own directory of flexible, composed materials. The three main movements are separated by two miniature acoustic “doorway” movements that act as portals, moving the ensemble between intimate and expansive spaces, from corners to cavities. Tracing the path from nests and corners to intimate immensity, I combine reverbs to transport and transpose the ensemble through a number of spaces, from that of my chest cavity, to that of hybrid in/outdoor environments, grasping at both real and imaginary spaces.

Burial’s 2013 track “Come Down to Us” ends with an audio sample from a speech Lana Wachowski gave when she received the Human Rights Campaign Visibility Award. When receiving the award, Wachowski speaks to her experience coming out as transgender through the metaphor of space and access. The sample ends with Wachowski stating, “this world that we imagine in this room might be used to gain access to other rooms, other worlds, previously unimaginable.” This piece is about inhabiting a space between, the queer middle, eliding the imaginable and unimaginable, possible and impossible.

Guiding quotes from Bachelard are listed under each movement.

i house and universe
[ i follow the line of the moldings Which follow that of the ceilings ]
[but there are angles from which one cannot escape]
[when the peaks of our sky come together my house will have a roof.]

ii intimate immensity
“Immensity in the intimate domain is intensity, an intensity of being, the intensity of a being evolving in a vast perspective of intimate immensity of the world, which they transform into intensity of our intimate being.”
“Grandeur progresses in the world in proportion to the deepening of intimacy”

iii: the dialectics of outside and inside
[...Silently the birds
Fly through us. O, I, who long to grow,
I look outside myself, and the tree inside me grows.]

Written for, premiered and recorded by lovemusic collective
Recorded and mixed by David Bird

enclosures - for lovemusic

"white wide eyes" (2014) for 23 musicians (4 ensembles), electronics, projection
- Ensemblekollektiv Berlin (Ensemble Mosaik, Sonar Quartet, Ensemble Adapter, Ensemble Apparat)
- Manuel Nawri (conductor)
premiere January 22nd 2015, Festival Ultraschall Berlin, HAU2

live recording: dradio

"white wide eyes" 2014 - for 23 musicians, electronics, projection

Distractfold live at Kammer Klang, Café Oto, October 4, 2016.
Instrumental performance, expressive signal processing, looping and live track mixing by Linda Jankowska, Emma Richards and Alice Purton. 
Recorded by Shaun Crook.
Mixed by Mauricio Pauly.
Mastered by Richard Scott.

Charred Edifice Shining, for amplified string trio

Track 1
cdr - http://submersion.info/store
digital - http://audio.submersion.info/album/circular

Alternate CDr master

rain, thunderstorm, wave, & wind field recordings 2008-2015; synth, fx, tape, surface noise

W/P by Submersion, August-December 2017
Circular (Reprocess) is a combined ambient reprise of the previous tracks
Tracks 1-9 mastered by A.P at GS Mastering & Post

1:37:27

http://submersion.info
http://soundcloud.com/submersion
http://tinyurl.com/sbmrsn-youtube

released: 3/18/18

Circular

Listen / Purchase

Circular I

abgrund, for ensemble (2017) 

Lucerne Festival 
KKL Luzern 23.08.2017

Lucerne Festival Alumni Ensemble:
Raoul Cho flute
Tomonori Takeda clarinet
Vitaliy Kyianytsia piano
Bill Solomon percussion
Marina Kifferstein violin
Rachel Koblyakov violin
Francesco Tosco viola
Simon Thompson cello
Juan Díaz double bass
Conducting:
Mehdi Lougraïda

abgrund, for ensemble

3. Sea, Salt

Gamelan

Recording from the world premiere of VÍDDIR, February 19th 2020 in Grundtvigs Kirke, Copenhagen.

Performers:
Bass Flute 1: Björg Brjánsdóttir
Bass Flute 2: Marie Sønderskov
Bass Flute 3: Flavia Huarachi
Bass Flute 4: Sofia Kayaya
Bass Flute 5: Beata Preisaite
Alto Flute 1: Steinunn Vala Pálsdóttir
Alto Flute 2: Marina Cyrino
Flute: María Ösp Ómarsdóttir
Piccolo: Christine Elizabeth Clancy
NEKO3: Fei Nie, Kalle Hakosalo, Lorenzo Colombo
Bass Guitar: Skúli Sverrisson
Double Bass: Bára Gísladóttir

Recording: Alma Hede and Yangyadi (Chloe) Deng
Mix: Ragnheiður Jónsdóttir

Photo: Therese Precht Vadum

VÍDDIR

An extract from the live recording of the world premiere performance on 20/11/20 at hcmf// 2020 and BBC Radio 3's New Music Show.

Flute, Taylor MacLennan
Clarinet, Alex Roberts
Piano, Sarah Park
Violin, David Lopez
Viola, Oscar Holch
Cello, Deni Teo

Joanna Bailie: Dissolve [clip]

Home of sweet experimental slow music, sound and art practice by Nukumori Eugene / Nx -街音の収集 (always welcome demo & collabo for release from Living Room Tapes)　　 

Nukumori Eugene / Nx ﾇｸﾓﾘ ﾕｰｼﾞﾝ / ぬくもりゆーじん is a Hong Kong - Japan Base Sound Artist, Researcher and  Architect. He is joining the sound & art projects around the world beside run his own label  "Living Room Tapes" - the sound & art collective. 

The project often highlights the sounds and arts placed between the nature and city's folklore - deconstructive city street culture and urban suburbia - related to the urban observation research project ~ Research and Practice of Alternative Art Space / Micro-Art Space  

featured projects :  Strange Ordinary Necessities不思議な日用品 / Urban Observational Studies 都市観察学会 / Skmtt /  / HONG KONG SUBURBIA / 3am / Soundscape Saitama 100 / 100音夜行 / Edition 1/f / A TALE OF OUR CITIES / MEIV

edition 1/f

Nukumori Eugene/ Nx -FRCS