Toru Takemitsu  
Far Away ( or For Away ) 
Kanako Abe, piano
CD recorded in September 2002 in Paris
ref : MAN 5047 HMCD 78  (Mandala / Harmonia Mundi)

Toru Takemitsu  Far Away ( or For Away ) Kanako Abe, piano

Régis Campo 
"Les Octaves Menaçantes"  
Kanako Abe, piano
from the CD recorded in September 2002 in Paris
ref : MAN 5047  HMCD 78 (Mandala /Harmonia Mundi)

Régis Campo "Les Octaves Menaçantes"  Kanako Abe, piano

Mohika

My work for symphony orchestra, Irrational Exuberance, was written for the BBC National Orchestra of Wales during 2013 and 2014. It was workshopped and performed as part of Composition: Wales in spring 2014 at the Hoddinott Hall, Wales Millennium Centre, Cardiff Bay. It was conducted by Jac van Steen. The leader of the orchestra was Lesley Hatfield.

The work was inspired by phenomena associated with economic asset bubbles, where investor enthusiasm is unsupported by the fundamentals, and takes its name from a term first coined by Alan Greenspan, former Chairman of the US Federal Reserve.

Irrational Exuberance - BBC National Orchestra of Wales (first rehearsal)

One of four pieces with this name, each featuring very active harp lines on a bed of leisurely moving sustained sounds. The pieces revolve around a primary mode, in this case the Indian mode Todi. Others may come into play, though, including Messaien symmetric modes. 

Outskirts Of Memory - Todi

Composer: Aftab Darvishi
Text: Ana Akhmatova( In memoriam, July 19,1914)
Conductor: James wood
Performed by " Latvian radio Choir" during Tenso days-Mechelen-2016

Lament Rose

I am very pleased to share, with you, my first-ever percussion ensemble piece. It was performed live by 11 players on Nov. 30th.

Myriad Beats - Live Percussion Ensemble

Numerical Velocities is the outgrowth of exploring one tiny corner of the world of number systems. In the fall of 2016, my composition teacher, Dr. Jeffrey Miller, posed a challenge: write an entirely new piece. I took his challenge, spelunking into Fibonacci, Lucas, Golden Ratio, and Pascal’s Triangle numbers. I discovered a newfound delight in the ordered simplicity inherent to composing with numbers as my guiding light. I found music emerging that was totally different from what I’d previously heard in my “inner ear”. It was as though the numerical patterns created a fresh pathway down which my internal musical pattern-building mechanisms could flow. I built Numerical Velocities by assigning pitch class sets to each of the aforementioned number systems. I then built melodies, harmonies, and rhythms upon these pitch class sets. I was as surprised as anyone else by the outcome. What came through was both my sense of humor, as well as the temporary fulfillment of my heart’s longing to express beauty as pattern, and pattern as beauty. What I liked most about working with these number systems was that they got me out of my own head, and helped me to see and hear more objectively.

2017 Glenn Glasow Concert Piece - Numerical Velocities

Eeror2

Read the review/extensive interview on Disquiet:
http://disquiet.com/2013/05/01/peter-kirn-music-for-dance-2013/

Download a lossless copy (Creative Commons licensed, pay what you like)
http://pkirn.bandcamp.com/album/music-for-dance

Music for Dance
P. KIRN

MUSIC FOR DANCE is a compilation of music I produced for choreographers, 2002-2011. I've recomposed these materials into a continuous musical soundscape. It's a new narrative that's independent of the original works, but inspired by the connection to these collaborators. 

I realize looking back at this work that it represents a chapter in my life, living in Manhattan and working in computer sounds in live, improvisatory contexts, challenged and transformed by the experience of space and time found in the modern dance scene there. Now, looking back on those nine years in New York City takes on a special meaning.

I want in particular to recognize the long-term collaborative relationships I had with two choreographers and fellow Sarah Lawrence College alumni, Kathy Westwater and Christopher Williams. The sound materials here come largely from work for Kathy Westwater, especially her Dark Matter series, along with works completed with Christopher Williams, Elise Knudson, and Pauliina Ailennoinen. The sounds are synthesized or heavily digitally processed, with only momentary incursions of sampled and found sound, including a brief interludes of my own vocals and processed flute/vocal sounds recorded with the talented Margaret Lancaster.

Venues included Dance Theater Workshop, 92nd Street Y, Boston Cyberarts Festival, Joyce SoHo, and others. Thanks to John Yannelli, Sarah Rudner, Dan Hurlin, and Emily Devine of the Sarah Lawrence Dance program.

In memory of Viola Farber, who helped launch me on this journey.

Completed: 2011
Peter Kirn, Berlin 2013

Music for Kathy Westwater, Christopher Williams, and Elise Knudson
Photos: Peter Kirn
Design: Anette K. Hansen

Music for Dance

" Fragments pour un portrait est issu d’un regroupement de plusieurs influences. Visuelles plutôt que littéraires, ce qui n’est pas très fréquent chez moi. Le titre est d’ailleurs une référence directe à Francis Bacon dont la série de portraits des papes, d’après Velasquez, m’a toujours fasciné."
Année de création : 1998
Christophe Desjardins, alto
Susanna Mälkki, direction
Ensemble intercontemporain
IRCAM
Kairos, 2009

<a href="http://www.clicmusique.com/manoury-fragments-pour-portrait-desjardins-malkki-p-2975.html" target="_blank">Acheter ce CD</a>

Philippe Manoury - Fragments pour un portrait

Jim Alexander is a composer, guitarist, and cellist. He writes acoustic and electronic music for dance, film, and live performance. His electronic music is often concerned with microtonality – in this case, scales finer than 12 tones per octave – as well as collage and timbral transformation. He mixes western ideas with non-western. He received an MA in composition from Mills College and plays processed cello in the electro-acoustic ensemble Cone of Confusion.