Llan Pass 12’25”
(Tape) 2 channel work for diffusion.


Llan Pass is a both a descriptive explanation of the processes involved, as well as a point of geographical reference. The work is a conscious artistic reflection of the mountain trails of Snowdonia. Leading from the lower hills and waters of Llanberis up and over the pass. Should one have the joy of meeting the sun with the morning dew enveloping the mountains in an array of light, until the elements meet it's climax with the radiated warmth of the morning sun, you can understand the lift in ones well being upon viewing such a sight. 
The outward spectacle also gives way to inward reflection, and as we begin to shed the strain of unnatural belonging, we focus on the greater picture and are consumed by the ideal of a sense of place. In this case, the moment of our situation which is oar inspiring, and it consumes us in our gaze before we are released to continue on our path changed, inspired and reinvigorated. 

The work begins with a well known medium of Glasses in a washing up bowl which knock against each other in a rolling and tumbling which here represent the boulders and rocks which break away from the mountains and roll down crashing into other rocks and setting them in motion until they find their final resting place at the lower gorges and rivers. We now begin to hear the development of this introduction that initiates the introduction of band filters, which echo the effect of the rocks. The sound of water begins to break through giving way to a more delicate and percussive natural soundscape of raindrops and flowing water. We are now at the point of assent, with the helicopter flying over head and distant drumming as though we are being called by our ancestors, drumming fades into a repeated rhythm and we hear the calling, trumpet or bell like motif asking for our attention, this now runs through an order of question and reply, and the section is repeated but with much more detail and urgency, and finally climaxes to a cacophony of rhythm. The rhythmic structure takes hold and finally concludes this section with great swirls of sound and gushes, which are surprisingly followed by calming string, bowed chords that seem to echo to and grow to the distant sound of a thunderstorm. The strings crescendo and were given a solitary 'cello theme before climaxing with the strings to the final climax and thunderclap.


Sounds include Glasses in washing up bowl, Water and Rain Fall, Helicopter, Drum, Voice, 'Cello, Bass, Synth. With thanks for R.H.Humphreys for sharing the Thunder.


Llan Pass © H.McGregor 2013

Recordists: Daniel Magalhães e Susana Pereira
12:30; 2011/06/01
ME 62


Portuguese Natural Soundscapes Project, São Mamede, Spring 2011

NoiseRomantics Miniature Recut

Background sounds of a Cattle Egrets(Bubulcus ibis) colony with Mauritanian (Berber)Toads (Amietophrynus mauritanicus) and Mediterranean Tree Frogs (Hyla meridionalis).

Recorded at Barrage Imi-N-Laârba, near Aït Ourir, Morocco on the 14th April 2015 with a spaced pair of omni mics into a Sony PCM M10.

Frogs, Toads And Cattle Egrets

Multiplex

"A system or signal involving simultaneous transmission of several messages along a single channel of communication."

It is affectionately dedicated to Alec Martin, who performed it on 18/05/2015. 

Special mention also goes to Stefanie Laimer, without whom the whole project would never have happened.

Multiplex

this is a 10 min. exerpt from a one-hour experimental-musical-radiodrama that I hope to put on vinyl sometime. 

OUR SONGS
song >< experiment

I partly grew up at my german grandmother. She grew up between the two world wars and 
spent her young adulthood in girl-camps helping on farms. Singing kept 
her alive and able to deal with the hard work. She was called 
"Singerle". The "Wandervogel" movement influenced her immense song 
collection, as well as the chansons and hits of her time.
My songmaking is experimentation. As long as my grandmother lived I 
thought I also should know songs. It took a while to realise that 
songmaking and experimentation is valid too.
In this work you hear my very early sounds&songs combined with her 
singing short before her death. My music was not yet established and 
refined, her voice was about to leave and a big love connected us. This piece was a liberation from my own expectations to music making, songing and composition.

What you hear: broken organ, voice imitating a broken organ, e-piano, 
synthesiser, rollerblades, guitar, drums, keys
www.anaberkenhoff.com/music

composition, recordings, songs, arrangement: Ana Berkenhoff
in collaboration with: Simon Birgisson, guitar, piano, voice
with: Annemarie Berkenhoff, Erich Berkenhoff

Exzerpt >< OUR SONGS ><

for 8 flutes and 4-channel electronics, premiered by AYRE flutes at the BFS Convention, Manchester, 21/08/2010

www.sternbergclarke.co.uk/acts/ayre-flutes

Atmungsaktiv (excerpt)

for concert-guitar and 8-channel electroacoustic sounds, guitar: Matthias Strassmüller
www.matthiasstrassmueller.weebly.com

Ensembles (excerpt)

The main idea behind the piece is a discourse between two main types of sound material which are clearly differentiated and in general maintain their morphological identity. A noisy, glitchy and aggressive sound object set with repetitive behavior and full spectrum activity, against a soft continuous drone-scape with identifiable pitch elements and harmonic content. As the piece progresses, the sound streams meet in counterpoint and along the way they somehow manage to share more than they seemed to intend to. An analogy, as implied by the title, is drawn with the physical sciences and the distinct states of matter that can coexist in a system, with associated phase transitions and interfacial phenomena.
9:45 - stereo for multi-speaker diffusion, Athens 2015.



Distinct Phases

Thunder in three parts - spark, crash and after rumble.  Recorded on Fraser's Hill, Malaysia 2015.

Malaysian Thunder

Huw McGregor (b’76) studied performance and composition at the Welsh Collage of Music and Drama, and then went on to further his studies with an MA for music for film and recording and editing at Bangor university North Wales. An accomplished competition performer he was presented with the Grace Williams Memorial Award for composition at the Urdd National Eisteddfod (’96). His work was broadcast nationally on S4C and was subsequently was commissioned to write for Cecilia Smega in 1998 by the Cilcain Festival.

 

He has had an active musical role in the community playing in-groups, from modern improvisation to popular music, as well as teaching ‘cello. He has also gained notoriety as a sound engineer, recording for Alexander Baillie and festivals such as the Llangollen International Music Festival. Performed live with the Duke Quartet and Robert MacKay in the uk premier of Stephen Montague’s string quartet no1  (for string quartet, live electronics and tape).

 

Huw taught Music Technology at Yale College  in Wrexham, North Wales where he specialized in performance and composition, and he is now returning to composing following a break away from Music completely where he was working as an Estate Manager.

Llan Pass © H.McGregor 2013

HuwMcGregor EA

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