SoundCloud Radio Playlist 3

Live performances of solo works for flute/s

NEW WORKS FOR SOLO FLUTE - Live Performances

Patricia Alessandrini - Esquisse d'après Artaud for voice and alto flute

Live performance on the 16th February 2024
Edinburgh College of Art - Edinburgh University

Voice - Stephanie Lamprea
Alto Flute - Richard Craig

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http://www.stephanielamprea.com/stephanie-lamprea--richard-craig.html
https://www.edinburghmusicreview.com/reviews/doubleportrait-eca
www.richardcraig.net
www.stephanielamprea.com

Patricia Alessandrini - Esquisse d'après Artaud

Patricia Alessandrini - ‘Spento è già in me l'ardore’,

For voice and alto flute

Live performance on the 16th February 2024
Edinburgh College of Art - Edinburgh University

Voice - Stephanie Lamprea
Alto Flute - Richard Craig

http://www.stephanielamprea.com/stephanie-lamprea--richard-craig.html

Patricia Alessandrini - ‘Spento è già in me l'ardore’

fhbf for Bass Flute amd Max/Msp

Richard Craig, bass flute & speaker
Text: Amelia Rosselli
Additional speakers on fixed medium: Bettina Wenzel, Cassandra Quave, Harald Muenz
Live recording from 5 June 2009, Cologne, Kunst-Station Sankt Peter

Programme note:
Three articulatory spaces, one text, three imaginary worlds, one poetess: born in Paris as the daughter of an Irish mother, her father, an Italian anti-fascist, was assassinated when she was seven years old. She grew up first in England, subsequently in New York, studied literature and music (!) in Rome and London and finally settled down in Florence. Thanks to this polyglot background, Amelia Rosselli, from time to time, composed her poetry in three languages at the same time, in Italian, English, and French.
Following this inspiration I recorded an excerpt from her ‘Diario in tre lingue’ (‘Diary in three languages’) with respective non-native speakers (Bettina Wenzel, Cassandra L. Quave and myself) on tape and added a score for the sounding, articulating and filtering tube of a bass flute. Carin Levine, the American flutist who premiered the work, had to deal with a lot of Italian, but not with the English idiom. She pursues a for the most part determined musical-phonetic score, while the CD player’s random generator controls the 22 tracks of the CD. In this manner changing their order each time ariche is being performed, the sequences and voices coming recall dram sequences from the sphere of the subconscious. In fact, in several passages Amelia Rosselli’s text speaks exactly about this. Contrarily to the wide spread understanding of music as ‘a language, which everybody understands’ I am choosing a different approach: speech is a type of music all of us are concerned with.

ariche

"ariche" for bass flute and random controlled CD (2001)

Pre-order 2LP compilation at http://bedroomsuckrecords.com/shop/various-artists-midday-moon/

Ambient and experimental music from Australia and New Zealand (1980 - 1995)

Trevor Pearce - Midday Moon (Excerpt)
Meera Atkinson - White
Ros Bandt - Invading the Landscape
Free Radicals - My lips are moving
Sarah Hopkins & Alan Lamb - The Winds of Heaven
Ashera - Indigo
Peter Mumme - Platypus
Peter Westheimer - Cadaghi Dreaming
Sam Mallet - Wetlands
John Heussenstamm - Sawan
Free Radicals - Polarities
Richard Hodgkinson - Optimissmo
Helen Ripley-Marshall - Under the Sun
Sam Mallet - Javanese
Blair Greenberg - Flying
Garry Havrillay - Quadrant (excerpt)
Louise  - Description of a dream
Cameron Allan - Arrival
Gondwanaland - Ephemeral Lakes
Waak Waak Djungi - Rainbow Serpent
John Heussenstamm - Knowing you’ll take me
Peter Miller - Grave 
Andrew Thomas Wilson - Pulses + Rivers
Mark Fields - Old China
Michael Atherton - Moonrise
Sam Mallet - Stream Daimon’s Peak
Robert Bleeker - Time Laps
Robert Bleeker - Bass Bird
Japetus - Rainbow Serpent
Errol H Tout - Metaphoric Allusions
John Heussenstamm - Alone
Peter Ball & Kerry Norman - The world turned upside down
Chris Abraham - And

Transmission A Collection Of Australian Ambience

Midday Moon - NTS Special #1

Excerpt from 22:12 length single track: "Cementerio Central Bogotá" (2019)*music by Sábila Orbe. *vocals by Mist Spectra.
 Listen/ Free download full track from 3 alternative links:
- https://archive.org/details/cementerio-bogota-single
- https://humanfobia-official.bandcamp.com/track/cementerio-central-bogot-single-2019
- https://hearthis.at/humanfobia/01-cementerio-central-bogot/

Humanfobia - Cementerio Central Bogotá (Excerpt)

Alto flute and tape 2019
Recorded in St Tegfan's Church, Llandefan, Anglesey
by CHIARO Audio (http://chiaro-audio.uk), March 2019

Tristan Rhys Williams - Piece for Alto Flute

"Mappa editions presents special project of Bruno Duplant and Pedro Chambel duo which connects field recordings (2 CD) and Duplant's photographic project emerging from the same concept. 

“All my new pieces with field recordings are "autofictions/self-fictions". Field recordings, like always with me came from lot of places. I don't care about where were recorded the sound, but much more how to create new entities, territories (the self-fictions/autofictions), which are both fictive, intimate and personal. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.” 

Bruno Duplant is sound enthusiast, composer, improviser and multi-instrumentalist living in the north of France. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. First one is listening and collecting of surrounding sounds, not especially “natural” ones, but more “cultural” ones. Second one is shaping the sound and the composition itself. 

“Recording and editing are two different states, one more passive for me (the recording) and the other more active (the work on the sounds, the composition itself). The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt.” 

In this case the role of active listening is shifted from recording in certain time and space towards studio work and to finding new sound elements, relations and spaces. 

“I see and name my compositional process (whether for instruments or for field recordings) as an "attempt at organizing chance". The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way. I try to create something new, a new fictional entity that I have named “autofiction”, "self-fiction".” 

The result is discreet witness of everyday life, where the listening ear is trying to decode and create an imaginative model of well-known place. It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. 

“The use of discreet electronic sounds came from the idea about to ask oneself the question: where does those sounds came from? Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.” 

Duplant is autodidact who following and renewing concepts of John Cage, Luc Ferrari, Rolf Julius or Toshiya Tsunoda. In his work we can also find parallels to literary techniques and space or to forms of reading. 

“First of all, I am teacher, a librarian teacher. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. This is the case for all the poetry of Francis Ponge, the texts of Georges Perec, the philosophy of Gaston Bachelard. So, my life, my practices are not compartmentalized. 

Besides collaborative sound projects duo Duplant/Chambel is also known for their curatorial work in delicious label Rhizome.s. In past they collaborated with Ilia Belorukov, Lance Austin Olsen, Barry Chabala, Nate Wooley, Ryoko Akama, Manfred Werder.

MAP01 - Bruno Duplant, Pedro Chambel - "Autofictions" [sample]

"Kuryokhin's reputation as the enfant terrible of the Russian avantgarde may have deterred some listeners from checking his work. This CD should change that. Behind its ungainly title lurks his most accessible music to date, a frothy concoction of wit, whimsy and flashing virtuoso power delivered at time with madcap elan." Graham Lock.

CDLR179 - Sergey Kuryokhin "A Combination Of Hands And Feet"

Richard Craig: flute and Pontus Langendorf: percussion

Esaias Järnegard - Order, part 1 (excerpt)

harald muenz (he/him)
is a german-italian transdisciplinary artist realising instrumental & vocal, peformative and radiophonic works with an artistic focus on phonetic composition & ars acustica.
harald's compositions have been commissioned by ensembles mosaik, auditivvokal, hand werk, apartment house, modern, musikfabrik; by radio stations such as hessischer rundfunk (hr2-kultur), westdeutscher rundfunk (wdr3), bbc, deutschlandfunk, dlf Kultur, among others.
harald's works have been performed and broadcast internationally and have been documented on several cds (portrait cd nearly-fast with ensemble mosaik at coviello contemporary).
frequent collaborations with experimental poets (florian neuner, mathias traxler, cristian forte, christian filips, roža domašcyna, among others)
on the vr platform 'second life', harald (aka cuirec d’erc) has realised several interactive sound installations and has been a member of the avatar orchestra metaverse (aom) since 2017.
harald is also active as a multilingual speech performer (trio sprechbohrer), author and lecturer.
harald's music has been occasionally described by others as ‘worldly,’ ‘non-conformist,’ or ‘provocative.’

https://haraldmuenz.carrd.co/
Work list on http://composers21.com/compdocs/muenzh.htm

Artist residencies
1996 Künstlerhaus Schloß Wiepersdorf (Brandenburg/Germany)
2000 Villa Aurora (Los Angeles/USA)
2021 Künstlerhof Schreyahn (Niedersachsen/Germany)
2023 Atelier Galata (Istanbul/Turkey)

Studies
Composition at Music Universities in Cologne (J. Fritsch, K. Meyer, C. Barlow) and Stuttgart  (H. Lachenmann)
PhD in Composition from Brunel University London (J. Croft)
Phonetics at Cologne University’s Institute for Linguistics (G. Heike, G. Sachse)
„Cleaning the House“ Workshop by the Marina Abramović Institute

Teaching
2001-2005 Lecturer for Aesthetic Phonetics, Institute for Linguistics, University of Cologne (part-time)
2006-11 Artistic Director of Musikhochschule Lübeck's Studio for Electronic Music (part-time)
2005-16 Lecturer in Composition Brunel University London (full-time permanent)
2016 Decision to work as a full-time freelance composer again
2017-22 current Lecturer at International Ensemble Modern Academy Frankfurt/M. (IEMA; part-time)

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