Gel Abril - Spells of Yoruba (Be As One 2008 / Defected 2009)

Gel Abril - Spells of Yoruba

Pulse Matrix 1

The Leaks

Guaranteed

live recording, first performance

Weston Olencki, trombone
Eric Wubbels, prepared piano

St. Peter's Church, Chelsea
New York, NY
June 10th, 2016

contraposition  IV. NEGATIVE

live recording, first performance

Weston Olencki, trombone
Eric Wubbels, prepared piano

St. Peter's Church, Chelsea
New York, NY
June 10th, 2016



contraposition I. IMAGE

"veil scans" by Tim Hecker

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2016 Adult Swim Singles Program

Tim Hecker - veil scans

379 - LTHM Podcast - Mixed by Haitham

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379 - LTHM Podcast - Mixed By Haitham

'All Star' by Smash Mouth, but all notes are C

Played by the stellar Gnarwhallaby Quartet. Recorded live at April In Santa Cruz at UC Santa Cruz in 2012.

Continuum

Text written by Paul Griffiths. Music composed by Trevor Bača.

This an unmixed recording of the world premiere performed on 13 January 2020 at Zipper Hall in Los Angeles, California.

Performers in this recording: Paul Holdengäber (narrator); Christine Tavolacci (bass flute); Dustin Donahue (percussion 1); Sidney Hopson (percussion 2); Cristina Montes Mateo (harp); Andrew McIntosh (viola); Ashley Walters (cello 1); Derek Stein (cello 2); Kathryn Schulmeister (contrabass 1); Scott Worthington (contrabass 2); and Jonathan Hepfer (conductor).

This commission has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.

Program note written by the composer:

The title — taken from Paul Griffiths’s text — is about an experience of longing, and recollected love. Though it is harmony that constitutes the object of this recollection, what harmony means turns out to be complicated: the lover, the beloved, memories of place, perhaps the act of remembering itself.

I asked Paul Griffiths to write a new text for this project because of the beautiful ways that his poetry and prose disappear into each other. Griffiths’s writings for other composers combine astonishing images according to a richly combinatorial way of working, composerly in itself. I wanted to compose with text that moves in these ways — geometric and fantastical — that immediately suggest new ways that music can start, stop and loop back on itself.

I hope listeners hear several different stories being told in the music at the same time. The text tells a story of remembering at the same time that it tells a story about the way that memory works. The sounds in the music tell a story about discovering the beautiful-but-strange at the same time that the sounds tell a story about forgetting what we have discovered. When the words and the sounds wrap around each other, I hope you can hear flashes of a world that houses our loves, our sadnesses and our strange stories together.

The most exciting parts of the piece are a series of moments when the narrator has just begun to speak and — just as suddenly — surrenders back to the music. Perhaps the most beautiful parts are alien chords that appear from darkness — the harmonies. The most surprising part of the piece comes at the end.

Continuum

Joseph Davancens