This month we’re so pleased to have another current Making Waves Intern, Mark Wolf @markwolfcomposer, guest-curate the playlist. About the Temporal theme, Mark writes:

    “Whether gripped by the unfolding drama of a new novel, or immersed in the onscreen action of an epic film, or even stimulated by listening to an engaging piece of music, have you ever enjoyed the experience of an effortless concentration so deep that you lose your sense of time?

    The works featured in this playlist all exhibit a paradoxical timeless quality. Each composition is connected with a temporal process, varying in nature from structured improvisation, ‘mobile moment form’ and slowly evolving spectrums of sound, all supporting temporal independence and ensemble freedom. Temporal manipulation is also observed through the exaggeration, expansion and fragmentation of musical time and events influenced by the natural world and architectural spatial design. These pieces are all in some way temporally ambiguous, successful in challenging the listeners’ perception of chronometric time.

The Making Waves team were especially delighted when Mark and Marlene touched base with their playlists to find that the music in both sets covered Space and Time!  Many thanks to Mark for his curatorial input this month: you can find out more about Mark here: https://makingwavesnewmusic.com/composers/mark-wolf/

Temporal Waves (July 2017)

for solo oboe

catherine lamb -- descensus trio (2020). i recorded each part by myself over the course of the pandemic.

catherine lamb -- decensus trio

Moss Gardens - No.1 - Harp, Tenor Recorder (2022)

Performed by Huw Morgan at St Thomas the Martyr, Bristol.

'Malum Opus' (translation: apple/disaster work) was written with the thought of a decaying apple in mind and my perceptions of decay, whether it be the withering wrinkles and crevices as the item falls apart, or the beautiful colours that appear in sprouting mould. The piece oscillates between consonance and microtonal dissonance, shifting the listener’s perceptions of the chords as they transition within these oscillations, gradually moving closer towards a microtonal decay and then eventual resolution as the apple becomes part of the earth.

Malum Opus, Performed by Huw Morgan, 14/05/2022, Bristol.

Performed by Toni Berg and Akito Goto, Guildhall School of Music and Drama

they, who fly with wings of glass

"This work is comprised of single tones in flexible time brackets for four saxophones or multiples thereof. The pitches do not sound as written. The intonation should be unique to each player, thus a unison should be “a unison.of differences.” Sounds may be long or short. When they have duration, the loudness should be soft. Very short sounds are free as to loudness, even sfz if wished or ppp.”

Different approach where I dramatically 'mistuned' the saxophones in advance.

John Cage Four5 (02.23)

12 world premières of the selected composers at the 7th International Young Composers Academy in Ticino, performed by the acclaimed Neuevocalsolisten Stuttgart and Musikfabrik at concerts in the Onsernone Valley (Loco and Comologno, June 30 and July 1st 2023).

TUTORS
Oscar Bianchi (director and professor) - www.oscarbianchi.com
Clara Iannotta (professor) - www.claraiannotta.com
Lisa Streich (professor) - www.lisastreich.se

Linxi Chen (China, USA - 2000): Chatoyant Of Somberness

Fluttertalks is scored for open instrumentation. Through a structured improvisatory style, it explores the inherency of communication and mutual collaboration in the natural world.

Recorded live 27/10/15
Flutes: Shaun Barlow, Henry Liang and Angus McPherson
Clarinets: Solomon Frank, Benjamin Samuels and Yinnie Yip

Fluttertalks

A compilation of multiple samples of my accordions broken at different times throughout the past year. Focusing on showing unaltered acoustic sounds. And majority of the samples were recorded a few minutes at a time of improvised passages.

I was not expecting these sounds to come out! :D

Severed Gizmo

Unravelling Graphite is a slowly evolving spectrum of sound. From the first sketches in late 2014 to finally having to stop myself from further editing in mid 2016, this piece has an unusual biographical nature, a ‘natural’ development resulting in material dictated by an accumulation 20 months worth of compositional whims. The outcome of this has been a work in which material is morphed and twisted, quickly collapses, slowly rebuilt, forevermore transformed. 
The accompanying image is a visual representation of the piece which I sketched during some frustrating days midway through composing.  

Unravelling Graphite was commissioned by the Queensland Conservatorium Griffith University as part of the 2014 Silver Harris & Jeff Peck Composition Prize. 

Performed and premiered by the Kurilpa String Quartet (Graeme Jennings, Brendan Joyce, Yoko Okayasu, and Katherine Philp)

Unravelling Graphite (2014-2016)

duo for percussion and saxophone - Scapegoat - Noam Bierstone and Joshua Hyde. 2016

Plastic Disorder

Composed by Chloë Hobbs, recorded by Ensemble Offspring, 2016.

Delphic (2016)

In spring 2018, the Conlon foundation organised a call in collaboration with the Orgelpark for compositions for the Utopa Baroque Organ. This instrument is brand new in the Orgelpark and makes a historical sound structure accessible by means of digital technology such as MIDI and OSC. Both the invited composers for the call — Danny de Graan, Janco Verduin, Laurens van der Wee, and Zeger de Vos — and the Conlon board composers — Boris Bezemer, Ji Youn Kang, Robert van Heumen and Christina Oorebeek — have researched the organ and its many sound possibilities - each in their own way, leading to eight completely different maiden voyages with this new intrument.

5 Ji Youn Kang - Mechanical Breathing

Performed by Ensemble intercontemporain
Conducted by Matthias Pintscher
Recorded live on June 14th 2019 at Cité de la Musique, Paris

Le lieu et la formule (2019) for large ensemble

The Birds And Old Pine (Improvisation with Anatolian zurna, hand drum and vocal)

Making Waves is a monthly series of curated playlists streaming one hour of quality, new composed music.  Founded in 2015, Making Waves shines a spotlight on the music of Australian composers. Fresh playlists are released on the first day of each month and older playlists are made available all year round via our archives; perfect for those with just a few minutes to explore one track or for hours perusing a myriad of diverse sound-worlds.


The project offers wider exposure to emerging composers, their music and the talented performers who champion it. We also provide an easy-to-access platform for listeners to sit back and enjoy a curated hour of exciting new music or explore our living composers more actively.  The playlist themes (and media through which they’re shared eg. Soundcloud, YouTube) evolve each month depending on the content received directly from our talented composers.

At its core Making Waves is a curated listening space. In 2016 we branched into producing our own content through a special project, Making Conversation, thanks to a successful crowdfunding campaign. Making Conversation: Australian Composers Project is a series of podcasts and vodcasts presenting the human side of living Australian composers, released on popular audiovisual and social platforms mid-2017.
Composers Lisa Cheney (Melbourne) and Peggy Polias (Sydney) are curating this project.

 Listeners, we encourage you to explore current and past playlists and discover more about our featured composers. 

Composers, we encourage you to send us links to your streamable audio via our website. Visit: www.makingwavesnewmusic.com for more information.

More music here: https://www.youtube.com/@jakobbragg 
Bio/blog/scores/concerts here: https://www.jakobbragg.com

Unravelling Graphite (2014-2016)

Jakob Bragg

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