for ensemble & electronics 

Paulo Amendoeira (percussion)Paola Aviles (harpe) Amélie Berson (flute) Phoebe Bognár (flute) Félix Lacquement (guitar) María Alejandra Jiménez (violin) Thierry Madiot (trombone) Mireia Pellisa Martín (saxophone) Carlo Sampaolesi (accordion) Adèle Viret (cello) + special thanks to Thomas Nicholson (Cage-clock-conducting)

commissioned by GMEA — Centre National de Création Musicale d'Albi-Tarn & part of the project 'experiences'

recording made at the Athanor, Albi, 06.08.2022
recording/ mixing by Benjamin Maumus, sound engineering at GMEA

for experiencers

performed by Maciej Skrzeczkowski on 21.06.22, Royal Conservatory of the Hague (NL)
mixed & mastered by Lilita Dunska

for blandine & maciej

for the Ghost Ensemble

excerpt recording, first 12 minutes

premiere performance by the Ghost Ensemble

December 2022, Roulette Theater, Brooklyn

mixed by Ben Richter

interius/exterius (2022) excerpt

Pelagic Dreamscape (2023) - WDR Sinfonieorchester

Listen to a sample of Air On A Broken String by Susan Philipsz, which soundtracks 'The Ambassadors' by Hans Holbein the Younger at The National Gallery's 'Soundscapes' exhibition.

Sample of 'Air On A Broken String' by Susan Philipsz

pf Explore Ensemble
Huddersfield Contemporary Music Festival
Nov 2020, @ BBC Maida Vale

Sentimental drifting music

composed by Martin Arnold (2003)
played by:
Martin Arnold - melodica
Eric Chenaux - voice, guitar
Ryan Driver - voice, synthesizer
Doug Tielli - voice, trombone
and Arraymusic

Tam Lin

View is a solo piece written for cellist Emile Girard-Charest and can be realized either on cello with a "bach-bow" covering three or four strings, or with a bowed fretless guitar with the two top strings removed.

Emile Girard-Charest - Cello

Recorded live at UdK, Berlin on 10th of July 2019

View (for cello)

excerpt of Robin Hayward's composition "Alpha Centauri" (2017)

Robin Hayward - Alpha Centauri

Infinite Greyscale is delighted to present 10 new recordings by Alasdair Roberts. Alternating between unaccompanied songs and instrumental tracks, Roberts presents traditional compositions at their most raw and affecting. 

The Tunes

I am indebted to my piping friend Donald Lindsay for The Blythsome Bridal, The Braes of Tulliemet and The Smith’s a Gallant Fireman, while Chief O’Neill’s Favourite and The Flowers of Edinburgh were learnt from my fiddling friend Neil McDermott. The Blythsome Bridal is used as the melody to a comic lyric called ‘Fy Let Us A’ To The Bridal’ first published in 1706.  The Braes of Tulliemet lie near the Perthshire town of Pitlochry.  The Smith’s a Gallant Fireman is also known as ‘Carrick’s Rant’. Chief O’Neill was Francis O’Neill (1848-1936), who was born in County Cork, emigrated to the USA as a young man and eventually became chief of the Chicago Police from 1901 to 1905. The Flowers of Edinburgh was first published in James Oswald’s Caledonian Pocket Companion around 1760.  The guitars are fretted in the following positions as the tunes appear on the record: II, II, V, VII and V.

The Songs

My family stayed in a haunted house in the village of Balquhidder for a very short while in the early 1980s after moving from Germany to Scotland.  However, I only took to singing The Braes of Balquhidder very recently after hearing a recording of it sung by the late Tim Lyons. The Seasons was learnt from the singing of the late Aberdeen singer Lizzie Higgins, daughter of Jeannie Robertson.  Edinburgh-based Ulsterman Cathal McConnell knows many fine songs, most of which are collected in his book/CD set I Have Travelled This Country.  I learnt this version of The Curragh of Kildare from that source.  The late Sheila Stewart of Rattray, near Blairgowrie, is the source of my version of False, False.  I would be unable to attribute my singing of Roberts Burns’ The Silver Tassie to a single source, owing to its general popularity in Scotland. I am forever indebted to all the fine singers and musicians mentioned above, and to many others unmentioned, for passing on songs and tunes to me over the years.

Alasdair Roberts
London, June 2020

Fretted and Indebted

The Braes Of Tulliemet

I (excerpt)

Fredrik Rasten is a guitarist and composer (b. 1988) working in the field of experimental music, both improvised and composed. His main focuses are exploring and utilizing the acoustic possibilities of the steel string guitar. The last years he has been working extensively with just intonation, taking an extended concept of consonance as a point of departure. He has studied in this field with  Catherine Lamb and Marc Sabat in Berlin. In his work he is also inspired by wandelweiser music, traditional british folk and early music.



contact: fredrikrasten(at)gmail(dot)com

View (for cello)

Fredrik Rasten

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