01/07/2022 Recorded in Bistra, Ljubljana marsh. Substrate-borne vibrations in a hay-meadow habitat.

Rokov Travnik / Rok's meadow

I,II & III enregistrés au studio de La Mami - Vallesville en Avril 2021
Tremplin, Temple Trou enregistré à La Grainerie - Toulouse en Avril 2021

Acheter K-7

Underwater Photosynthesis

El conjunto del canto de ranas del Zarzal o trepadoras (Hypsiboas pulchellus) genera una obra sonora natural, acompañada de grillos y el sonido del mar. En su etapa de reproducción su llamado es muy sonoro, metálico y musical, producido por la rápida vibración de las cuerdas vocales que se amplifican por el saco vocal.

//ENG The singing of the Zarzal frogs or climbers (Hypsiboas pulchellus) generates a natural sound work, accompanied by crickets and the sound of the sea. In its reproduction stage, its call is very loud, metallic and musical, produced by the rapid vibration of the vocal cords that are amplified by the vocal sac.

— Grabación de campo realizada en un charcal a orillas de la  Playa Bello Horizonte, Costa Azul, Uruguay  05-04-2023 02:00 AM
///
Autor: @damian-alferez
Equipos: Grabadora Portátil ZOOM
Localidad: Playa Bello Horizonte, Costa Azul - Uruguay
Fecha: 5 de Abril del 2023
Hora: 02:00 AM (UTC-3)

Concierto de Ranas del Zarzal - Damián Alférez

vocalisation: howling
other species: I don't know, some nervous passerines
date: 25/12/2021

PFR18843 – Eurasian Wolf, pack, howling – Germany

dub extensible-002

Recorded on four channels nearby laggon under  Svínafellsjökull glacier south of Vatnajökull glacier in Iceland.
Two microphones are recording the soundscape above the  glacier lagoon and two hydrophones are placed in the lagoon.
More information will be found at http://fieldrecording.net


Under the glacier lagoon (Aquarian H2n-XLR)

Two musicians, two different folk music traditions, two soundscapes hundreds of miles apart and one nightingale song. Nightingale melodies inspired this intoxicating folk album by Slovakian flautist Michaela Antalová and Norwegian double bassist Adrian Myhr. The Oslo-based duo’s album follows their meditative 2021 debut Zvony (Bells), which featured harmonium, field recordings of crickets and a Slovak male choir.

Sing Nightingale is a translation of ‘Zaspievaj Slavicku’, a traditional Slovakian song. The duo experiments with this theme of the songbird; exploring instrumentation from around the world and its rich tonal textures. On ‘Night Singing’, Michaela plays a Slovakian fujara, a tall, upright wooden bass flute originally played by shepherds. The fujara’s smooth, deep tones are laid over a recording of a nightingale by musicologist Tomáš Šenkyřík, with Michaela’s flute mimicking the bird’s nocturnal chirps and warbles to attract a mate. Michaela is carefully imitating the bird, who is in turn improvising his melody. In ‘Worm Moon’, named after the springtime full moon in March, when nightingales return from Africa where they have spent the cold winter, Adrian’s slow and resonant double bass is brightened by the sweet trills of a real nightingale and Michaela’s fujara.

The Norwegian Hardanger fiddle or hardingfele, features on two specially written songs; ‘Lament’ and ‘Rosenhave’ (rose garden) which bring together the nightingale’s symbolic associations with undying love, sacrifice, deep sorrow and loss. Celebrated Hardanger fiddle player Helga Myhr plays alongside Adrian’s double bass and Michaela’s seljefløyte or willow flute. Helga also plays on ‘Flagre’ (Flutter) and ‘Dance Nightingale’. The seljefløyte is very similar to the Slovak overtone flute koncovka. By using this Norwegian instrument, Adrian and Michaela’s new compositions are reminiscent of both countries’ folk traditions. Folk music often comes from unknown sources; the original writer may not be known and the melodies are typically passed down orally. Michaela and Adrian’s project merges the different folk musics from their respective countries, finding common ground in the sonic qualities of instruments and evolving a new hybrid folk style, authentic in its own right.

For the stunning adaptation of the traditional Slovakian fujara song ‘Dolu Ovce Dolinami’ (‘Sheep down the valleys’), Adrian’s friend Javid Afsari Rad plays the Iranian santur, similar to the traditional Slovak string instrument cimbalom. By coincidence, Iran’s national bird is the nightingale, making another unexpected connection to the symbolic bird. These 11 tracks are a beguiling fusion of traditional folk styles, approached by musicians from an avant-garde, improv and jazz background. The album pays tribute to a hugely expressive bird and finds a strange, soothing universality in the folk sounds of different countries. 


Adrian Myhr – double bass, harmonium
Michaela Antalová – fujara, seljefløyte, xylophone bar, shaker, voice
Helga Myhr – hardanger fiddle, voice
Javid Afsari Rad – santur

All compositions by Adrian Myhr and Michaela Antalová (except folk melodies on tracks 3, 9, 10 and 11)

Recorded at Maridalsveien 3 in Oslo, Norway by Adrian Myhr and Michaela Antalová, from February to April 2024
Mixed and mastered by Christian Obermayer at Strype Audio in Oslo, Norway

Vocals on track 10 was recorded in the former silo of the sugar factory in Rimavská Sobota, Slovakia
Singers: Anežka Matoušková and Lucie Páchová
Recording of the nightingale singing on tracks 4 and 6 by Tomáš Šenkyřík and Libor Měřínský, kindly borrowed from Skupina label

Design by Richard Hronský and Karola Ainsar
www.instagram.com/hronskyy/
www.instagram.com/paljusateadsid/

Words by Claire Sawers

Released by mappa as MAP053 in 2024


Supported using public funding by Slovak Arts Council

Dolu Ovce Dolinami

striped marsh frogs/northern banjo frog/aquatic life
wet season in the kroombit mountains, qld
february, 2016

Morning Chorus: Above and below a creek in the Kroombit mountains

Amazonian Dolphins in the Rio Tefé, close to the community of Tauary.
Recorded in September 2017.
Hydrophone Aquarian H2aXLR
Recorder Sound Devices 633
Original sound in Wave 96kHz 24bit
Sound Ref: BR-170919T10

Amazona 2017

Amazonian Dolphins

In 2011 the German ensemble Streichseptett Heiligenberg organised a portrait concert dedicated to my teacher Martin Smolka. He very kindly suggested to them that I, as his student at that time, should also write a piece for them for that occasion.

At the beginning there was a tempting opportunity to write a piece for a very unusual string septet: descant (a kind of high violin), 2 violins, viola, tenor (or high) cello, cello and double bass with an added low string. It was also inspiring that each instrument was made from the wood of a different tree. The tempting aspect for me at that time was mainly the pairing of "usual" with "unusual" instruments.

In those years I was focused on monochromatic instrumentation and was exploring clusters of different densities (writing rather utopian pieces, which are hard to perform due to their instrumentation). Within these clusters some simpler elements are usually hidden, which for me form some of the basic elements of music (a simple triad, or a fragment of a melody) which have to be “excavated”.

In Septett I “hid” simple triads (g-minor, d-minor) which gradually become clearer within the musical process. These chords slowly become slightly out of tune because of the natural harmonics (mostly 7th) which replace the more "well-tuned" pitches. Amongst other things, I also had on my mind the velvety sound of the fujara (a traditional Slovak flute).

In 2015 I rewrote the piece for standard instruments for the Ostrava Days festival. I wanted to use two different kinds of mutes (a standard, and a practice metal mute) and thus divide the ensemble into two slightly different trios (vn-vla-vc) with the unmuted doublebass situated inbetween. But during the rehearsals fascinanting things started to happen: the muted instruments were reluctant to spread the rainbows of different spectra, which clash into each other during the piece, especially in the opening texture. So finally the musicians played without mutes, even in the softest dynamics.

The composition is dedicated to Gérard Grisey, for his enthusiasm for working with unclear roles of individual parameters. However, I must also thank Martin Smolka, both for the wonderful suggestion that I should write this piece, and later for the surprise he gave me by sending to me Bohumil Hrabal's Tender Barbarian at exactly the most decisive moment of composing the piece.

Septett

CONCERTS /
- SILO
(cannes et clairan)
31/10/25

- MADE ANYWHERE
(paris)
05/09/25

- LES BAINS DOUCHES 
(villefranche de rouergue)
28/07/25

- CASTET (carbone)
28/07/25

- IL TEATRO (bordeaux)
25/07/25

- ELLEFEST (cugand)
21/07/25

- LA LOUTRE PAR LES CORNES 
(faux la montagne)
02/05/25

- BLOCKHAUS DY 10 (nantes)
30/04/25

- VERGER DU PETIT COUBREGNIER
(cugand)
29/04/25

- LE NOUVEAU MAGNOLIA (paris)
27/04/25

- AUTOUR DU GARAGE (paris)
26/04/25

- LA CHEMINEE (bruxelles)
25/04/25

- LABOR FUR KLANG UND RAUM (kiel)
13/04/25

- LE DADA ( Toulouse)
06/03/25

- CAFÉ DU CENTRE (La Fouillade)
16/11/24

-LE NEGRAL (Lugan)
14/09/24

- PARLADISSA (Laguépie)
07/09/24

-Les découvertes de st amancet (St Amancet)
31/08/24

-SILO (Cannes-et-clairan)
24/05/24

-CHAPELLE ST-JACQUES (Villefranche de rouergue)
03/05/24

- LA MAMI (Valesville) 
09/09/23

-SILO (Cannes et Clairan)
02/09/23

- ORANGE
01/09/23

- ATELIERS DU PALAIS (Arles) 
23/08/23

- ATTRACTEUR ETRANGE (Tarn) 
18.08.23

- ABSYNTH (Ciudad de Mexico)
03/06/23

- MAKER SPACE
(Toluca-MX)
18/05/23

- CAFE POMPIER
(Bordeaux)
17/01/23

-LE POINCONEUR
(toulouse)
04/01/23

- BLAJA CREW
(toulouse)
30/11/22

- HOTEL PARTICULER
(ville franche de rouergue)
20/11/22

- LE PATO
(masseube) 01/10/22

- LA BALEINE ARVALUM (quimper) 24/09/22

- CADENCES
(toulouse) 17/09/22

- LE PRESBYTERE
(cardan) 25/08/22

- SANS DETOUR (Gayan) 14/08/22

-LA JARDINADE- 30/07/22

I

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