Performed at the Festival of Laurence Crane: A Tribute Concert on Monday 18th October 2021.

The title is an accidental pun on Laurence’s Bobby J for electric guitar. I was chatting with Patrick about putting the piece together and told him we might both have to muster up our best Bobby D impressions (aka Bob Dylan).

Lara Agar (violin, harmonica)
Christian Drew (guitar, harmonica)
Harry Harrison (percussion, harmonica)
Patrick Hegarty (guitar, harmonica)
Darius Paymai (harmonium, harmonica)

Bobby D

For better listening experience, please use headphones

Double Bass: Dogukan Pahsa

Endspiel

Commission: Südwestrundfunk for the Donaueschingen Musiktage 2022

Live recording of the world première, Musica Nova Helsinki, 3 March 2023.

Performers:
Mattie Barbier, trombone
Weston Olencki, trombone
Helsinki Philharmonic Orchestra
Janne Nisonen, conductor

Photo: Helsinki Philharmonic Orchestra

where the dark earth bends (2022, rev. 2023), for RAGE Thormbones, orchestra, and electronics

performed by New World Symphony
commissioned by NWS Blue Projects '23-24

'eight hands reaching' is inspired by the graveyard of a thousand airplanes slowly rising to the heavens in Hayao Miyazaki’s 'Porco Rosso.'

eight hands reaching [2023] (preview) | New World Symphony

Diapason: Nev Wendell (trumpet), Nick Ginsburg (French horn), Mattie Barbier (trombone), Mason Moy (tuba).


live recording at Automata Arts Dec. 17, 2023

Sarah Davachi- Long Gradus (brass version)

UC San Diego Palimpsest Ensemble:
Steven Schick, Conductor 
Teresa Diaz de Cossio, flute 
Grace Talaski, bass clarinet 
Varun Rangaswamy, contrabassoon
Rachel Allen, trumpet 
Berk Schneider, trombone 
Mitchell Carlstrom, percussion 1 
Rebecca Lloyd-Jones, percussion 2
Ashley Zhang, piano 
James Ernest Moore, electric guitar
Ilana Waniuk, violin 1 
Myra Hinrichs, violin 2 
Alexander Taylor, viola 
Peter Ko, cello 
Matthew Kline, double bass

Program Notes:

While seeking to expand on the concepts and material found in the original iteration of Spate, I was immersed in its erratic, panicked atmosphere. I became obsessed with the idea of frantic, futile solos lashing out violently from silence with such constant intensity and fervor that they resulted in a kind of horrified stasis, a unit of grotesque and vicious sustain, striving endlessly but going nowhere, grasping desperately at nothing in the pursuit of a distant unseen hope. Spate III furthers this obsession and explores the coalescing of individual "popping" grains, collectively evolving and progressing from individual, ultra-sparse grains/”pops”, to sporadic clusters, and eventually uniting into powerful composite crescendos and undulating masses while celebrating their unpredictable and unstable nature. Often resulting from high pressure friction, these grains evoke a sense of extreme tension, tremendous pressure, and the tempting of a vulnerable threshold, as if an immense force is on the brink of erupting forth.

This piece is for amplified chamber ensemble (no fixed media/live processing/electronics are involved) and was commissioned as part of the LA Phil National Composers Intensive for Wild Up

Spate III (2022) - UC San Diego Palimpsest Ensemble

for (roughly) 25 shifting waveforms tuned to a 3-by-5-limit matrix

premiered february 28 at staller recital hall

letting a chord breathe

Premiered by The Van Swietens
March 21, 2024, Salzburg, Austria
Recorded live by Valentin Malanetski

dualities and symmetries

composed by Martin Arnold (1997)
performed by Quatuor Bozzini

Contact; Vault

raycaster

for flute/picc., alto saxophone, percussion, electroacousticly prepared piano, violin or viola, cello, and fixed/live audio media

Performed by Vertixe Sonora Ensemble at the Centro Gallego de Arte Contemporáneo (CGAC)in December 2018.

Performers: Clara Saleiro (flute), Pablo Coello (saxophone), Diego Ventoso (percussion), David Durán (piano),Rubén Barros (electric guitar),Ángel Faraldo (electronics),Roberto Alonso (violin), Ailsa Lewin (cello)

PROGRAM NOTES

In computer graphics, “raycasting” is the process of tracing the intersection of a virtual surface with an invisible “ray” emanating from a spaceless point within the virtual scene. In Julião Sarmento oeuvre, I constantly sense the shadow of this unseen seer, the eye or lens that possets its existence only through a sensual self-embodiment in the materials it traces. The duality of substance and form that brings to mind, for David Barro, comparisons to Pasolini’s shifting camera angle also evokes David Hume's observation that we have no consistent, unbroken observation of the world. Our perceptual orifices provide an interrupted and inconsistent stream of information from which our perceptions of continuity are reconstructed. In raycaster, the unseen “ray” posits a playful means of bridging the phenomenological gap. I invite the performer and listener to engage in a willful act of self-deception, accepting the possibility of alternate self-realizations through microphones that serve as both substrate and perceptual prosthesis, through speakers that act both to reproduce and to actuate, and through a kind of autogenesis of physical material and monolithic noise into which we can project an alien embodiment.

Image credit: Paolo Monti, Servizio fotografico : Milano, 1970 https://commons.wikimedia.org/wiki/File:Paolo_Monti_-_Servizio_fotografico_-_BEIC_6346554.jpg

raycaster

Full recording playlist: https://soundcloud.com/nikoyamamoto/sets/a-midfield-glance-2019/s-meTOqdChQY7
Dan Gelock, Masahito Sugihara (al.), Johnny Salinas (tn.), Evan Withner (bn.)
Live recording @ Contemporary Arts Museum, Houston, TX //  Stonewall 50 // May 9, 2019 - 6.30p

letting a chord breathe

Jeremy Wei Rosenstock

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