JBRH 010

So Mad

Bijuriya and Mercyry have joined forces to produce a dark and dancey queerdo cover of Kate Bush's classic 'Wuthering Heights'.

Original song: Kate Bush
Vocals: Bijuriya
Music and additional vocals: Mercyry

Wuthering Heights (Bijuriya + Mercyry)

« La Cartographie des sons» pour kanoun solo et orchestre à cordes

Interprété par l’ensemble de la SMCQ et soloiste Nizar Tabcharani , dirigé par Véronique Lussier au Salle Pierre-Mercure), le 27 septembre 2019
Enregistrement effectué en concert 
Document d'archive

La Cartographie des Sons (extrait)

Minty Tears (Sophie x Julio Bashmore x Jessie Ware) by Cupro + Mercyry

Inspired by Whole Festival Beach Stage, we love you queer babes <3!!!

(album art by Joe Cummins)

Minty Tears (Sophie x Julio Bashmore x Jessie Ware x Cupro x Mercyry)

Gigue - for violin and electronics
Tanya Charles, violin
Performed at FAWN Emergents III

Gigue

For bass clarinet, double bass, piano, and percussion.

Performed by Anthony Thompson, Adam Scime, Wesley Shen, and Dan Morphy as part of the Curiosity Festival's finale "Metal," presented by the Toy Piano Composers.

Recorded by John Gray at Heliconian Hall, Toronto, ON, April 9, 2016.

microlattice (bass clarinet, double bass, piano, percussion)

Performers: East Side Quartet

Program Notes:
This two-movement work explores the energy in sunlight. The first movement, titled Reflect, focuses on the frenetic, scattered motion of light waves. The music contains only a few short gestures, but it jumps to and between them at speed, as if it were following a ray of light over contrasting surfaces. Each gesture is imbued with that same, active motion, exemplified by the use of extreme ranges in the piano and tightly interlocked rhythms in the ensemble. Contrarily, the patient second movement, titled Absorb, acts as a solar-powered circuit. The music begins in the low register and breathes slowly while the circuit receives and stores energy. As the power accumulates, the electricity begins to hum, an effect that is personified by drones in the violin and viola. Finally, after flickering on and off, the movement climaxes with a powerful release of energy, followed by a steady, sequential descent in register as the circuit runs out of power.

Sunburst for piano quartet

For Two Double Basses
Recording performed by Corin Long and Michael Tiepold.
Commissioned by Konzerthaus Dortmund
First Performed 17 February 2006, in Konzerthaus Dortmund, by Corin Long and Michael Tiepold.

Blue And Gray (2005)

SENTIRE CON TATTO - di Daniela Terranova
String Quartet (2019)
Commissioned by Regia Accademia Filarmonica di Bologna
Performed by QUARTETTO PROMETEO (Giulio Rovighi, Aldo Campagnari, Massimo Piva, Francesco Dillon)
https://www.youtube.com/watch?v=cbPx7orR7Y8

Sentire con tatto (string quartet)

Premiere 17/04/2019: Ensemble recherche. Helsinki Music Centre (Finland).

Perpetual Morning (2019) for flute, clarinet, violoncello and piano

Of definitions of “ground” was composed in reaction to the sound of the electrical utility frequency or ‘mains hum’, which can sometimes be heard through loudspeakers and amplifiers. It is generally considered an ‘unwanted’ noise, often caused by interconnection of electrical equipment that results in there being multiple paths to the ground, also known as a “ground loop”. Many of my concert experiences, as a composer or listener, have been coloured by trying to eliminate or ignore this sound. And so, I wanted to create a work where this sound is instead the focus. The harmony of the work is built around this hum and its harmonic series, and much of the instrumental writing attempts to simulate related electroacoustic phenomena, such as harmonic distortion and feedback. 

Because the electrical utility frequency is different in different countries (for example, in North America it is 60 Hz and in Europe it is 50 Hz), there are two different versions of the score, depending on where the piece is performed. In reflecting on the way this sound connects us to place, the work subtly incorporates field recordings which also differ between the two versions, linking to the sites of the premiere performances in Québec and Belgium. The piece is then a meditation on the way sound can “ground” us or connect us to a feeling of familiar ground.  

Of definitions of “ground” was commissioned by Le Vivier for Ensemble Hopper with support from the Canada Council for the Arts.

Recording: 10 May 2019, Église Sacré-Coeur, Chicoutimi. Recording engineer: Pascal Beaulieu

Of definitions of "ground" (60 Hz version)- Ensemble Hopper

A live performance with Rothko's painting was organised by Stedelijk Museum when the quarantine was announced in the Netherlands and it had to be cancelled. However it shouldn't stop creation and a music piece was composed but from a different concept. In solitude while composing I realised that piece should be about feeling longing, but not in a defeated way. More like feeling the pause and delay, what we
actually experience in our everyday life during the quarantine. Even though we are not sharing space with the art it still exists out there, and there is a hope to connect after all.
I still made use of the melody line, which I’d created during my time with the painting in the museum. Also there is another factor which was very important for this project; the legacy of Morton Feldman, the American composer who had already composed pieces for Rothko’s art and I refer to that whit a short segment in the final piece.

Rothko and me in the time of quarantine

Under 1 House

I Felt Love

It might be helpful to give a short introduction: I go by either https://soundcloud.com/christian-s-smith, or in this case ‘himsantichrist' for my DJ & mixing title. It’s a long story and a bit of an inside joke, but basically it’s just an anagram of my name. My main career path is as a percussionist specialising in new experimental composed and improvised music. I also teach music, and I freelance as a landscaper with the time I have left in my week. However, since I was a teenager I’ve been making mixtapes for myself and friends, and as I got older that turned into playing house parties, and in recent years I’ve gotten pretty seriously into club culture and DJ-ing, which brings me here. Thanks to Matthijs Mantel for inviting me to head this exciting project, and to the festival which I’ve been lucky to have a relationship with, either as a performer or as an attendee, since I moved to The Hague in 2016.

The concept: using the extensive physical and digital archives housing recordings made at the festival since its start in 1945, I have produced a series of mixtapes covering the 74 years that the Gaudeamus Muziekweek has occurred. This is the first of several that will celebrate the 75th birthday of a festival that has curated a broad spectrum of the post-war contemporary classical and experimental music.

I went for more of a ‘collage’ style mixing method though there aren’t more than 3-4 tracks at a given time. Single pieces do come to the foreground, or sound alone, but to me as a listener, mixing one track to the next is not very
interesting. I found through the process that pieces that might have completely different aesthetics or vibes, when played together became something new and weird. Also, this mixtape is chronologically arranged according to the year of the Festival, meaning if a piece is written in 2012, but played in the 2015 edition, then it goes between 2014 and 2016, highlighting its context in the history of the Gaudeamus Muziekweeks. You can see exactly when a piece and composer are brought into the mix by following along with my annotated comments.   

My work as a dj is intuitive, I listen and find connections or juxtapositions where I can. I arrange everything in Ableton (this is not a live mix), so I had the opportunity to compose out my weaker decisions, and bring out the stronger ones.  A big big thank you to the wonderful humans that wrote and performed this music, without which this wouldn't be possible. There are some beautiful moments and collisions here, happy listening!

2013
https://soundcloud.com/morgan-krauss - We only Speak of Other Things 00:00 
Martijn Padding - Hop  2:10 & 4:08 
https://soundcloud.com/julianna-barwick - 7 improvisaties  2:55 & 8:14
https://soundcloud.com/esaias - Order Part 1  5:57
https://soundcloud.com/jiyounkang - Machi Nory  10:57

2014 
https://soundcloud.com/bart-de-vrees - Like Boxtrapped Monkeys in a Warehouse 16:22
https://soundcloud.com/jessie-downs - Noticing and Truth Telling 18:59
https://soundcloud.com/emilykoh- Petrichor 21:12
https://soundcloud.com/trevorgrahl - …From Curious Lands and Places 23:06

2015 
https://soundcloud.com/jasontbuchanan - Walkside, Lost 25:39

2016 
https://soundcloud.com/gabrieldharmoo - Avec et sans feinte 27:20 & 30:25
https://soundcloud.com/anthony-vine - Between Blue 30:25
https://soundcloud.com/james-ocallaghan - Indices or: Kosuth Variations 31:53

2017 
Maya Verlaak - Song and Dance  39:11
https://soundcloud.com/genevievemurphy - Squeeze Machine  49:39
https://soundcloud.com/ivan-vukosavljevi- The Atlas Slave  53:14

2018
https://soundcloud.com/lawrencedunn - Disappointment rondeau 53:36
https://soundcloud.com/lise-morrison - Cleared Air and Delicate Dust 57:06
https://soundcloud.com/wkuoex - The Hand Holds No Weapon 61:16

2019
https://soundcloud.com/kelley-sheehan-929055575 - Eyes On 64:10 
https://soundcloud.com/remysiu - New Notations for Multi-Players 67:22

Mixing The Archive - 75 Years of Gaudeamus #1 2013-2019 [himsantichrist worst timeline mix]

Obra hecha en una residencia artística por parte del CMMAS

Aufheben

James O’Callaghan is a composer and multimedia artist based in Berlin. His work has been described as “very personal… with its own colour anchored in the unpredictable,” (Goethe-Institut). It spans chamber, orchestral, live electronic and acousmatic idioms, audio installations, video-music, site-specific performances, electronic dance music, and interdisciplinary collaboration — most recently with choreographer Edouard Lock and artist Lois Brown. In 2016 an album of his acousmatic works, Espaces Tautologiques, was released by empreintes DIGITALes, and his extended collaboration with Ensemble Paramirabo resulted in a portrait album of his works in 2019, entitled Alone and unalone.
	His music has received nearly forty prizes and nominations, including the ISCM Young Composer Award (2017), the Salvatore Martirano Award (2016), and the SOCAN Foundation John Weinzweig Grand Prize (2014). Significant nominations include those for the Gaudeamus Award (2016), Prix Métamorphoses (2018), and two JUNO Awards (2014, 2020). In 2021 he received the Prix Opus for “Composer of the Year.” 
	Active as an arts organiser, he co-founded and co-directed the Montréal Contemporary Music Lab. Originally from British Columbia, he lived in Montréal for 11 years and since 2022 has been based out of Berlin.

Of definitions of "ground" (60 Hz version)- Ensemble Hopper

James O'Callaghan

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