Name: Cut To Gibbons by John McLachlan, composer
Duration: 4 min 58 s
Description: This piece is for two harpsichords. It is from 2006 at the height of my phase of what I think of as hand-knitted algorithmic music. No computers needed in the working out of the pitch or rhythm, just simple numbers. However, the piece is probably too hard for human interpreters, so all there is is this midi realisation. But it is quite diverting so I thought I would place it here.

I think you underestimate human interpreters...

The Zaffre Project - live in Austin April 2015
Todd Reynolds, violin and electronics
Frode Andersen, accordion
Ejnar Kanding, sound design and electronics

This is a recording from a concert at the Fusebox Festival in Austin, Texas, 17th April 2014

The Zaffre Project : PermanentKraplak

Sarcasms, four pieces for orchestra

Performers:
RTÉ National Symphony Orchestra
Gavin Maloney, conductor

Recorded at the National Concert Hall, Dublin, on January 20th 2015, as part of the RTÉ NSO's Horizons Series.

Sarcasms, for orchestra

The concept of the piece is to push time forward thus to find ourselves constantly in motion. The form  is produced by the contradiction of a linear  sense of time with the vertical one. The material is made out of metallic sounds plus balloοn tones, friction on percussive instruments and  gestures of pigeons recorded in open space. The sounds were made using max and supercollider plus various max4live devices.
https://festivalexnihilo.wordpress.com/2017/03/02/concierto-acusmatico-edomex-estado-invitado-de-ex_nihilo-2017/
Highly commended in ARS ELECTRONICA 2018
https://www.forumwallis.ch/programm-2018arselectronicaforumwallis.htm

In Motion (2015)

'(I-V)' // Performed by the Clarion Horn Trio

Cycling- OPRF

Extract from live performance of 'loaded silence' for piano and recorded ice by Karen Power
Isabelle O'Connell, piano


Loaded Silence by Karen Power(extract)

Sheet music available here: https://www.sheetmusicplus.com/publishers/ewing-lauder-sheet-music/3005433

Loss

This piece is for two harpsichords. It is from 2006 at the height of my phase of what I think of as hand-knitted algorithmic music. No computers needed in the working out of the pitch or rhythm, just simple numbers. However, the piece is probably too hard for human interpreters, so all there is is this midi realisation. But it is quite diverting so I thought I would place it here.

Cut To Gibbons

ROTORELIEF suite for speaking conductor and ensemble. 
Live recording from concert at l´Espace de projection at IRCAM with KammarensembleN in 2006. Speaking conductor: Franck Ollu

ROTORELIEF suite

Somewhere… where the rainbow ends for flute, clarinet, piano and percussions (2009) was commissioned by Associação Portuguesa de Flautas and is dedicated to Performa ensemble.

The text used in this piece is extraction of a long poem I wrote about 15 years ago, one day when the ancient rainbow was singing inside me.
Rainbow for me symbolizes the dream… dream which we want so much to live, but risk that one day we wake up into the rough reality… but is it really so? Is it risk to dream? Does the rainbow end somewhere?...
I am convinced that without dreams there would be no reality to create; and that “somewhere, where the rainbow…”, is a magic blend of ends and beginnings… I hope the rainbow will never end for any of us, and will always paint beautiful songs inside everyone…



Somewhere… where the rainbow ends… (the fragment of the poem used in this piece)

At the eleventh hour see drained tree in broken mirror…into seven seconds
undefinable danger
illusory visions in the deepness of soul…on sale
almost schizophrenic rainbow
subjective risk!
tortmenting hesitation
sparkling fire spasm...

pull out some pages wet of tears dried out

unwanted truth!
defensive reaction
returning preliminary past… or....is that past future?
walking through dream seeing that double image in the mirror

throw out the mask!
I want to feel your eyes
so far..so unattainable… but…still so close…

Somewhere...where the rainbow ends...

John McLachlan was born in Dublin and studied music at the Royal Irish Academy of Music and Trinity College Dublin. He has studied composition with William York, Robert Hanson and Kevin Volans. He holds a PhD in musicology from Trinity College Dublin, where he specialised in researching the compositional techniques of Boulez, Xenakis, Lutoslawski and Carter.

His works have been performed on five continents in over 30 countries with broadcasts in many territories. Performers who have played his music include the National Symphony Orchestra of Ireland, Opera Theatre Company, the National Chamber Choir, Concorde, Sequenza, Traject, Archaeus, Pro Arte, Antipodes, Ensemble Nordlys, The Fidelio Trio, The ConTempo Quartet and Trio Arbós as well as many prominent soloists including Ian Pace, John Feeley, Mary Dullea, Darragh Morgan, Satoko Inoue and David Adams. Commissioners include the RTE NSO, Music Network, Lyric fm, the Musica Viva Festival and the National Concert Hall.

His music has been included on the following recordings: AIC CD 1, CMC CD 4, Irish Contemporary Organ Music (David Adams), CMC CD 9, Islands (John Feeley, guitar), Gothic (Mary Dullea, Metier records) and RIAM piano syllabus CDs; many of his pedagogical piano works have been published by the Royal Irish Academy of Music in their piano syllabus anthologies. 

His music is available from the Contemporary Music Centre www.cmc.ie. His website is www.johnmclachlan.org You can find scores scrolling on his YouTube channel, link above.

Cut To Gibbons

John McLachlan, composer

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