for string quartet prepared with magnolia leaves

performed by the Isaura Quartet

special thanks to Erika Duke-Kirkpatrick and Rafa Prendergast for aid throughout the compositional process

link to a score is here: https://issuu.com/jeremyrosenstock/docs/with_leaves_flattened

with leaves

For better listening experience, please use headphones

Double Bass: Dogukan Pahsa

Endspiel

HAPHES I – for amplified quintet
Eneko Lacalle Berasategi
________________________________________________________________
DE: HAPHES ist eine erfundene Sprache (conlang), die ich speziell für dieses Stück entwickelt habe. Das Stück basiert auf einem Gedicht, das in dieser Sprache geschrieben wurde. Nachstehend ist das Gedicht und seine englische Übersetzung zu lesen:

EN: HAPHES is a constructed language (conlang) developed by myself specifically for this piece. The piece is based on a poem written in this very language. Below is the poem and its English translation:

---

HAPHA, THÉSSA, PPHASSA, HATHHA
HAPHES TE THÉSSES TE PPHASSES TE HATHHES SAPHE

KAPHTATSAWA W’ATTHÉSSES, KKHATHA W’ATATHHES
TSAWES PO SAPHE THÉSSES
WASAPHA KAPHTAKKHATHES PO SAPHE
TÉTTE KAPHTATSAWES PO PPHASSES

LHAWA TOTHTSES PO SAPHE
TOPPHA THÉSSES TÉTTE HATHHA
TÉTTE TOPH KKHATHA PPHASSES, SAPHE
TOTH PPHOSH-PPHOSH HATHHES

TOPH LHAWA SAPHOHHES
ÉLHA PÉPHE HAPHES

---

Whisper/speak, blow/say, sound/play, listen
Speech, wind, sound and the listened are air

Born in the speaker, dead in the listener
the life of air is sound
Breathing is the killing of the air
and the birthing of the sound

One feels the coming of air
One takes being blown and listens
and when the air dies: the silence
that’s when the sound is loudest

Whenever one feels airless
all it takes is a whisper

________________________________________________________________
Flute: Sophie Mattiuzzo
Bassoon: Olivia Palmer-Baker
Violin: Kateryna Vashchenko
Viola: Sebastian Berck
Cello: Raquel Rivera Novillo

Premiered and recorded live at HfM Hanns Eisler Berlin, as part of the "Zoom+Fokus" Concert Series, the 20/07/2023.
YouTube video of the live performance: https://youtu.be/elBUISUw28c

HAPHES I (2023)

for bassoon and tape

Lauren Martin: bassoon
Drew Sensue-Wenistein: recording
Jack Herscowitz: composition and mixing

a place without language or streets

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

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

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

dualities and symmetries

for the Eschaton Ensemble 

performed at the 2018 Cortona Sessions

recording / mixing / mastering - Tina Tallon

To Listen

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

with leaves

Jeremy Wei Rosenstock

Recent comments

Eliot Ray Burk

Related tracks