From little Rayhat Reef (4 miles from our shore) before sunrise at 03.40 am. with Herring Gulls awakening. The microphones were placed in a Buckthorn where a flock of young Starlings kept night. (4.00>) (The low rumble is from a very distant ship. From 15 hours of recording, the noise is here as lowest)

Updating www.rupuranta.net

(MKH8020 ab80cm, MixPre3 32float>24/48, no processing, Flac)

Sunrise with Herring Gulls - 15/7/2021 - Rayhat Reef

I asked Marc Weidenbaum to share a track of guitar music that I could do something with. He sent "Night There and Back," a very full, minimalistic texture. I wanted to find a way to just stay with it a long time. I made a ChucK script that would choose a duration to play a clip of his track forward, then jump back to a position just after that clip began, that is, to granulate his piece in order, maintaining its overall narrative. I also wanted to maintain its metric feel; so, that meant to step completely through his file, my remix would end up lasting some 29 minutes. At each randomly chosen cut, a synthesized note plays. I added a bass line and some guitar fills to mark the space of the soundscape his track creates.

Disquiet Night There And Back Remix

The Mistral, is a strong wind that commonly occurs in southern France, blowing down from the north along the lower Rhône River valley toward the Mediterranean Sea. As the wind reaches the Rhône delta, gusts can often hit speeds of 130 km (about 80 miles) per hour.

This recording was taken from the bedroom window of an old "Mas" (farmhouse) just outside Barbentane (Bouches-du-Rhône) with the mics pointing directly at a Plane tree (platane)at least 250 years old.

Sound Devices Mix Pre 6 + 2 x Sennheiser MKH 8040s (ORTF)
24.08.2021

Strong "Mistral" Wind - Barbentane, France

Tropf

walked to the studio this morning and was greeted by these sounds... a lovely mix of the chime hanging on a nearby tree and some birds in the freshly fallen snow. had to record it.

February 13, 2022 (snow morning)

The swelling likelihood of imminent armageddon draws everything into focus. Helps clarify your priorities. Helps you figure out how to live your life from moment to moment.

And from where I'm sitting this clarity brings with it a sense of responsibility as a human being. A responsibility to really be here now. To truly live our lives with presence and appreciation. To drink deeply of the cup of human experience. Because the only thing worse than everything ending would be if it ended without having been seen and valued while it lasted.

We have control over so very little in this insane little pickle we've found ourselves in. But one thing we can definitely control is whether we're really showing up for however much time we've got left on this amazing blue planet.

Reading by Tim Foley.

Being This Close To Nuclear War Should Change How We See Things`

commissioned by the Los Angeles Philharmonic Association, Gustavo Dudamel, Music & Artistic Director
premiered by the Los Angeles Philharmonic with soloist Jay Campbell, conducted by Vimbayi Kaziboni
recorded at Walt Disney Concert Hall, courtesy of the LA Phil

excerpt of first five minutes, of ~twelve 

note | Amaru refers to the world serpent in Andean cosmology - rainbow-colored, two-headed, and dwelling beneath the earth. Associated with the emergence of underground water sources and transitions between worlds, Amaru is also related to the dark constellation serpent Mach’acuay whose seasonal appearance coincides with the warm rain season in the Andes and the appearance of terrestrial snakes.

'Amaru' joins a group of recent works that engage Andean & Irish cosmologies, my ancestry. With the distinct opportunity to write for the end of a program and next to a previous work, 'Talamh (land)', I wanted to explore a somewhat risky process: that of detuning an orchestra of strings. As 'Talamh' explores the topographies of Ireland through focused soundscapes, I wanted 'Amaru' to explore the loosening and tightening of ensemble, strings, conductor, and soloist through rich harmonies, wild harmonic gestures, and emergent, cyclic forms.

Amaru [2022] | LA Phil

Sonority of Rainbow

Melodic House&Techno-June-2022

RUDE BUSTER (mimptoms REMIX)

In the Information Age data is an object that can be used to create multiple realities, each vying for dominance.  Some data points are ignored and some amplified, and in this way narratives are developed and reinforced.  Today’s #MusicalMinute alludes to a lot of these ideas but the results can sound confusing.  What do you think?

17 Aug 25 Clattering Chatter

My rescore of the Doctor Who episode, The Fires of Pompeii, which was originally released on February 1st, 2022.

Ancient Rome

[piece title] [year written] | [performing ensemble]

inti figgis-vizueta (b.1993) is a composer and educator who works to reconcile historical aesthetics and experimental practices with trans & Indigenous futures. Described as a “rising new music star” (LA Times), with “smooth and serrated melodies” (New York Times) and an “intriguing…highly integrated sound” (Gramophone), “wrought from a language we’d do well to learn” (Washington Post), inti has been commissioned and performed by leading artists including the Los Angeles Philharmonic, Cincinnati Symphony Orchestra, San Francisco Symphony, Phoenix Symphony, Oregon Symphony, Dallas Symphony, American Composers Orchestra, New World Symphony, Los Angeles Chamber Orchestra, Ensemble Reflektor, Aspen Music Festival, Ojai Music Festival, Spoleto Music Festival, Kennedy Center’s Sounds of US Festival, International Contemporary Ensemble, Alarm Will Sound, Wild Up, Roomful of Teeth, Carnegie Hall’s Ensemble Connect, Kronos Quartet, Attacca Quartet, JACK Quartet, Music from Copland House, Crash Ensemble, violinist Jennifer Koh, and cellists Andrew Yee and Jay Campbell, among many others. inti’s work has been featured at Lincoln Center, Carnegie Hall, Kennedy Center, Walt Disney Hall Concert Hall, Symphony Center, REDCAT, National Concert Hall (IE), Southbank Centre (UK), Philharmonie de Paris (FR), Muziekgebouw aan 't IJ (NL), and Konzerthaus Berlin (DE). 

Upcoming projects include Earths to Come in VR for the Venice Film Festival, mad scramble for crumbs for Opera Saratoga, Metahaven’s film The Feeling Sonnets, and works for flutist Claire Chase, pianist James McVinnie, and cellist Andrew Yee with Roomful of Teeth. inti is the recipient of the Lotos Foundation Prize, ASCAP Foundation Fred Ho Award, National Sawdust Hildegard Award, Café Royal Foundation Music Grant and residency fellowships from Dumbarton Oaks, Civitella Ranieri, Juilliard Summer Percussion, and Music at Copland House.

inti has held faculty positions with Luna Composition Lab (21-24’), Wildflower Composers (20-22’), Fresh Inc Festival (22’), and Atlanticx Composition (21’). She regularly lectures on her music with recent visits to Harvard University, The Juilliard School, Peabody Conservatory, and CalArts, among many others. inti has curated programs for the Los Angeles Philharmonic Green Umbrella series, Los Angeles Chamber Orchestra Current Series, Wild Up’s Darkness Sounding, and American Composers Orchestra SONiC Festival. She is the 2024 Robert M. Trotter Lecturer for the College Music Society 67th National Conference. 
​
inti studied with Marcos Balter, Felipe Lara, Donnacha Dennehy, and George Lewis. Her mentors include ﻿Tania León﻿, Nico Muhly, Angélica Negrón, Derek Bermel, and Andrew Norman, among many others. inti honors her Quichua bisabuela who was the only woman butcher on the plaza central and used to fight men with a machete.