Performed by Miura-sensei, as part of the SEED academy

finefine

Created with Bonnie Wai-Lee Kwong for the Berkeley Art Museum / Pacific Film Archives, 2019.

Bampfa - No Place Like Home

....
Come forth with an opera singer so that each concert she may let the moon out of her mouth. Rejoice with the goldfish for it swallows the sunset from its little glass bowl.
...
--Anne Sexton, Ninth Psalm from O Ye Tongues

The title nadir aux pommes is taken from the 1974 film Céline et Julie vont en bateau: Phantom Ladies Over Paris by Jacques Rivette.  The piece is about a friend who is both so alike to you and yet so different.  A charming, comical at times, collaborative and combative relationship, to both assert oneself and do the dance with the other.  The composition is as well about distraction and the absurdity that can arise from giving attention to specific sound objects.

  nadir aux pommes was written for Heather Roche and Eva Zöllner.

Performed by Heather Roche and Eva Zöllner (https://www.zoellner-roche.com/)
Composed by Julie Zhu (https://juliezhu.net/)
Recorded by Aaron Holloway-Nahum
Filmed by Sam Walton (https://www.samwaltonphotography.com/)

nadir aux pommes

Olivia Martin, percussion
Julie Zhu, live electronics
with the support of IRCAM, Simone Conforti

BOX - binaural - concert recording

2014 Summer Carillon Recital at Yale University

Misty on Harkness Tower (carillon)

Hair Pieces, I.

BRONZE+BREATH+ - +Nederlands

Composed by Julie Zhu
Piano: Robert Fleitz

This piece was written for the off-Broadway show Babel.

Redoredo (piano)

The Answers was written for the JACK quartet

The composition derives from rotation, orbit, and vantage point. In this piece, Cello is Mercury, Viola is Venus, Violin II is Earth, and Violin I is Mars. There are 16 points in a square that circumscribes the orbit of Mars.

Each point represents a harmonic ratio located in cartesian space. The rhythm is determined by the rotation of each planet at their relative positions over the course of a year on Mars, scanning the points, like a lightbeam sweeping across a square of stars, sonifying each.

What does this constellation mobile sound like?

From each vantage point, the order and timing of sonified stars change, which means the combined quartet of ratios in our tonnetz morphs fluidly, though maintaining a constant insistence of our pitch space, centered around the fundamental C2.

The Answers

Composer and carillonneur
julie.j.zhu@gmail.com

juliejzhu

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