TR181 - Camille Emaille - 'Belisama - The Metallic Roots' [excerpt]

Satin Made of Triggers - Hummings is the result of collaboration between Antonina Nowacka, Teoniki Rożynek, Mila Nowacka, Kamil Szuszkiewicz, and Sebastian Buczek (Altanova Press). In 2018, Kamil, Antonina and Teoniki took up the subject of the ASMR phenomenon (Autonomous Sensory Meridian Response) as part of the Unsound festival during SMOT concerts at the Alchemia club in Krakow. A year later, an idea arose to extend the project to include other media. A fragment of the recording from the festival was released on the lathe cut album in a limited series of 10 copies, each of them as a unique artifact, prepared by Mila Nowacka and Sebastian Buczek.

Altanova Press is an analog record label run by Sebastian Buczek. The sound is recorded in real time using the Polish cutter for sound postcards from the 1960s, improved by Buczek, each disc is made by hand.

The covers of Satin Made of Triggers Hummings were framed with original drawings and the plates were engraved with a diamond needle by Mila Nowacka.

As part of the premiere, there was a premiere exhibition of records and a concert performed by Antonina Nowacka, Teonika Rożynek and Kamil Szuszkiewicz in the space of the Pracownia Wschodnia gallery.

Satin Made of Triggers - Hummings will is only available at the Sklep-Galeria Karowa in Warsaw and the Cafe OTO store in London.

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Composition: Kamil Szuszkiewicz
Execution: 
Antonina Nowacka
Teoniki Rożynek 
Kamil Szuszkiewicz
Lathe cuts and covers: Mila Nowacka, Sebastian Buczek / Altanova Press
material recorded at the Unsound Festival in 2018

Satin Made of Triggers - Hummings [sample]

Les Duresses emerges through a prism of speculative intonation. Marc Sabat uncovers an opening of tonal possibilities that he roots in an unfinished composition for solo violin by Morton Feldman. From its enigmatic notation and the conceptual tendencies expressed by Feldman, Sabat determines that the fragment is written in an alternate tonal space. Throughout Les Duresses, this space is given shape and consideration. Although it fixes what Feldman left open, both the intonation and the album continually propose new ways of being heard. They become afterthoughts embedded in a process of discovery.&#13;
 &#13;
The performance given by violinist Andrew McIntosh is as poignant as it is moving. He echoes the approach to intonation taken by Sabat. By extending into the upper reaches of a sound's harmonic spectrum, the music traces various points of convergence where it can be heard belonging to a number of tonal centers. For listeners, the inertia of this choice extends into the sounding surface, not merely as a projection of compositional gestures. It gives Les Duresses an almost optical or holographic veneer. While sound this harmonically resonant would generally find its expression in drone music, Sabat explores a register where movement springs inherently from the intonation of a spectrum. This enables a reshaping of his music's maneuverability, as well as its emotional pull.&#13;
 &#13;
Four of Sabat's compositions, Intonations after Morton Feldman 1 and 2, Two Commas and Duas Quintas, outline a terrain suggested within the intonation. Near the end, Sabat joins McIntosh on a second violin, almost imperceptibly at first. Although this doubling signals the furthest departure from the original solo, it comes closest to capturing its surface activity, which for Feldman is unique in its play between tension and relief. Les Duresses extends this in both directions. Tensions are made greater and the reliefs softer. Sabat draws on a sound world, not from Feldman, but like Feldman, that invites listeners to absorb themselves in longer durations where patterns can unfold. It comes from an imaginary American folk music, full of meandering, drifting, and at times, exuberance. &#13;
 &#13;
The depth of Sabat's research into Feldman's well-documented interests bring about results that are arguably closer to the composer's intentions than one finds in many historical interpretations of music. His intonation of the fragment is more Feldman than most recordings of Palestrina are Palestrina. As an album, though, Les Duresses slips past interpretation and takes up imaginative trajectories into Sabat's compositional body of work.

careof.co

Marc Sabat - Two Commas

#9 of new works in collaboration with Sarah Saviet and Joseph Houston, created during Fall 2022

piano harmonically aligned with the open violin tuning

this is a piece that culminated after 9 studies, realized by Sarah and Joe

recording is taken from the live concert recording, December 2nd, 2022, KM28, Berlin

violin/piano study #9 for Sarah and Joe (by Catherine Lamb)

Lasceremo al cielo i nostri occhi (2023)
for Soprano, Nickelharpa, Hurdy-Gurdy, Viola da Gamba, Harp

Julia Kirchner         soprano
Marco Ambrosini    nickelharpa
Tobie Miller             hurdy-gurdy
Caroline Ritchie      viola da gamba
Vera Schnider         harp

live recording at Zunftsaal Schmiedenhof, Basel (CH) 
master Marco Ambrosini

Lasceremo al cielo i nostri occhi

Performed by Jennifer Walshe (voice, stones) and David Ryther (violin). 

as mo cheann (2000)

For voice and percussion quartet. Performed by Jennifer Walshe and the Schlagquartett Köln. 

For James Tilly Matthews. 

Physics For The Girl In the Street (2007)

for Solo Cello
Recording performed by Séverine Ballon
Commissioned by the Huddersfield Contemporary Music Festival with funds from Diaphonique/Franco-British Fund for Contemporary Music, Südwestrundfunk & Fundación BBVA Bilbao
First performed 19 November 2013, St. Pauls Hall, hcmf//, by Séverine Ballon

Solitude (2013)

Spirit Labour, a visual essay by Hugo Glendinning and Adrian Heathfield
http://www.adrianheathfield.net/project/spirit-labour/
music by Aisha Orazbayeva
photo by Hugo Glendinning

Spirit Labour Opening

Premiered by Neue Vocalsolisten Stuttgart on October 5th, 2018, at Festival Musica, Strasbourg. 

Johanna Zimmer, soprano
Susanne Leitz-Lorey, soprano
Truike van der Poel, mezzo-soprano
Martin Nagy, tenor
Guillermo Anzorena, baritone
Andreas Fischer, bass

The texts in this piece are taken from two sources: 
1) a medieval Middle English alchemical poem of anonymous origin titled “Verses upon the Elixir” (ca. mid-fifteenth century).
2) the poem “Hell’s Wisdom” (1923-27) by Elsa von Freytag-Loringhoven.

PEK TI (2018) for vocal sextet

Extract from Jurg Frey's 'Late Silence' (2017) played by Ensemble Grizzana. The work is based on two fragments of early music - Ockeghem's 'Deploration sur la mort de Binchois' and Byrd's 'How Vain are all our Frail Delights'. From the CD 'Early to Late', which includes this piece and a sister composition by Magnus Granberg, which is based on the same fragments of music, but develops quite differently.

Jurg Frey 'Late Silence' extract

Ivan Liuzzo is an italian musician active in various artistic fields based in Basel;

He mainly works as a composer in the contemporary classical field, and as a drummer/percussionist he has collaborated with many artist in the Italian avant-jazz(Manlio Maresca, eg.) and artist such James Chance;

He is also artistically active under the pseudonym of Luiz Vinoza and co-founder of Avidi Lumi.

https://ivanliuzzo.bandcamp.com/follow_me

Lasceremo al cielo i nostri occhi

Ivan Liuzzo

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