Alexei Lapin, piano; Nikolai Rubanov, bass clarinet. Birds are the descendants of dinosaurs, you can hear it right here.

Birds And Scratches

Interfacing with the Surface [2013]
for horn, cello &amp; MIDI keyboard
Ensemble Tzara (Samuel Stoll, horn; Moritz Müllenbach, cello; Simone Keller, keyboard)
Performance at Roulette, Brooklyn [December 11, 2013]

Interfacing with the Surface is an attempt at creating a sonic object over which we only truly witness its exteriority, its surface. The barrage of sampled flotsam and jetsam is massively differentiated and detailed on a micro-level, but its insistence and constancy render it monolithic and undifferentiated. As an Object, it is without Substance and is all Accident. The piece is a withdrawn object, eluding our grasping of it. It withdraws not only from the observers outside of it, but also from the operators within it. It is in excess of itself, and it spews this excess upon us without deliberation.

More info <a href="http://www.timothy-mccormack.com/interfacingwiththesurface" rel="nofollow" target="_blank">here</a>.

Image: Angela Guyton, "d" [related to her triptych "Interfacing with the Carcass"]

Interfacing with the Surface [2013]

Published by Tetractys:
http://www.tetractys.co.uk/photo_12688972.html

Carla Rees - Quatraine II (1999)

Bridges, Ali Somay

Günter Steinke - "...kaum einen Hauch" für Bassflöte (1991)

Windhorse (2012)for flute and live processing (SuperCollider)
The Windhorse is a central figure in Tibetan culture and Tibetan Buddhism. The Windhorse appears in the center of a common type of prayer flag, representing the cardinal directions, well-being, good fortune, and the speed and strength with which prayers are carried to the heavens. The Windhorse is often depicted bearing the Three Jewels in which those seeking enlightenment take refuge: the enlightened being (Buddha), the teachings (Dharma), and the community of those seeking enlightenment (Sangha). This meditative work is representative of the more relaxed character of my recent works. It was written in the spirit of "joyous effort", the Buddhist philosophy that positive efforts are worthwhile for ourselves and others, and that we should not be fearful or discouraged in our work. The electronic sounds are generated in realtime by processing the input signal from the flute with SuperCollider.


Windhorse

This is a live performance of the flute concerto, 'Shakhmat supremat' by Michael Smetanin, with the soloist Laura Chislett (flute, bass flute, piccolo). 1995.

Shakhmat Supremat (Flute Concerto) by Michael Smetanin

jammin-the-marbles

ShrimpChoir by D-Pablo

Structured improvisation around Audre Lorde's "A Litany For Survival" (1978) read by Phoebe Bognár. Live performance at "Dare To Speak" concert, presented by Mat Klotz and GUPSA at the Queensland Conservatorium, Griffith University in support of Minus18 for IDAHOBIT (International Day Against Homophobia, Biphobia, Intersexism, and Transphobia).

Hannah Reardon-Smith: concert flute and live electronic processing (Ableton Live)
Phoebe Bognár: voice
Text: "A Litany For Survival" by Audre Lorde (1978)

Dare To Speak
May 14, 2019 | 7.30pm
Ian Hangar Recital Hall, QCGU

When We Speak Ft. Phoebe Bognár

marcha (2015) 
opera for solo flutes in 10 images
after a poem of Boris Pasternak

Helen Bledsoe, flutes
Watch performance: https://www.youtube.com/watch?v=myIjZiogm0A

С высоты одного,
Обеспамятев,
Бросился сольный
Женский альт.
Подхватили.
Когда же и он отрыдал,
Смолкло все.
Стало слышно,
Как колет мороз колокольни.
Вихри сахарной пыли,
Свистя,
Пронеслись по рядам.

desde un balcón,
frenético,
voló un solo
de contralto
y lo siguieron.
Pero al fin del lamento
todo enmudeció. Se oyeron
las heladas aristas de los campanarios.
Torbellinos de azúcar,
silbando,
taladraban las filas.

Aus der Höhe des einem (Balkons)
Wirr,
stützte weibliches
Altsolo
man setzte ein.
Als es ebenso verheulte
wurde alles leise.
Man hört,
wie der Glockenturmfrost sticht.
Die Wirbel des Zuckerstaubes,
pfeifend,
verbreiteten sich in den Reihen.

fragment of The Year 1905, by Boris Pasternak. 
Traducción al español: Augusto Vidal und Carlos Barral. 
Deutsch Übersetzung: Irina Skuratovska
С высоты одного,
Обеспамятев,
Бросился сольный
Женский альт.
Подхватили.
Когда же и он отрыдал,
Смолкло все.
Стало слышно,
Как колет мороз колокольни.
Вихри сахарной пыли,
Свистя,
Пронеслись по рядам.

desde un balcón,
frenético,
voló un solo
de contralto
y lo siguieron.
Pero al fin del lamento
todo enmudeció. Se oyeron
las heladas aristas de los campanarios.
Torbellinos de azúcar,
silbando,
taladraban las filas.

Aus der Höhe des einem (Balkons)
Wirr,
stützte weibliches
Altsolo
man setzte ein.
Als es ebenso verheulte
wurde alles leise.
Man hört,
wie der Glockenturmfrost sticht.
Die Wirbel des Zuckerstaubes,
pfeifend,
verbreiteten sich in den Reihen.

fragment of The Year 1905, by Boris Pasternak. 
Traducción al español: Augusto Vidal und Carlos Barral. 
Deutsch Übersetzung: Irina Skuratovska

Vladimir Guicheff Bogacz - Marcha for solo flute

Fluter channel. My electro stuff is over there: https://soundcloud.com/helen-bledsoe-electro

Vladimir Guicheff Bogacz - Marcha for solo flute

Helen Bledsoe Flute

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