Boson Spin / P a b l o - Aphica (arrhythmia mix)

Vitamine C

Sturnus vulgaris cohibitus (2020) for piano & transducers inside the piano. 
Performed by Marco Riccelli (der/gelbe/klang). Recorded by Asparuh Tashev at Villa Waldberta 17.06.2022.
The impact of the lockdown on nature was pronounced, as people were confined at home, animals began to feel freer in cities, pollution and noise levels decreased and birdsong became more audible. Confined at home, I began to watch starling flocks in my garden and listen to their (by my first-impression) non melodic songs. I wanted to capture their voices, turning them into a virtual instrument.
Composition Sturnus vulgaris cohibitus reflects on the idea of confinement. Piano part has a developed rhythmical language and is treated as a percussion instrument with prepared strings inside the big resonating box. Tiny speakers inside the piano play the brief starling calls which have a timbre function, creating a reverb and later a delay of a played instrument. Expanding its register the piece progresses keeping the dependency between piano and tape while symbolising a bird trapped between the strings, only making sound when struck by piano hammers but still hoping to break free.
Virtual instrument patch created by Kristijonas Naslenas.

Sturnus vulgaris cohibitus

for soprano, 4 amplified dictaphones, and mixed ensemble

Performed by Nina Guo and Ensemble Modern
text by Alexandra Kleeman
Conducted by Sara Caneva
Recorded by Felix Dreher, mixed by Katherine Balch

waste knot

Earth Before Men, Earth After Men

Space Hero

a theme by Marco Lucchi re-imagined by Walter Fini

marzo 2023

Walter Fini - Acqua di Marzo

Dividing the autumn sky
Into two
A huge chinquapin tree

Takahama Kyoshi was a Japanese poet active during the Shōwa period of Japan. He was the editor of the haiku magazine Hototogisu (previously edited by Shiki), where he promoted a more traditional style of haiku, as opposed to other popular schools which did not follow the pattern of seventeen syllables at that time.
Kyoshi also highlighted the symbolic function of the kigo (the seasonal reference), even though the more modern trends were already tending towards seasonless haiku.

Autumn sky Into two (naviarhaiku489)

An electronic composition, sounds created in Pure Data.

Sunset Mountain (naviarhaiku496)

performed by Neue Vocalsolisten Stuttgart
Chiesa di San Giovanni Battista (Onsernone), 30 June 2023

This piece is the third and the last piece of my Wittgenstein cycle and also an homage to Solage to express my fumeusement**
for his Rondeaux ‘’fumeux fume par fumee’’. 

The idea behind the polytext use is based on how much each text can be perceived 
as explanatory, commentary and complementary in relation with each other. 
As a composer I consider myself very lucky because the self-contained and self-explanatory qualities of each text
make it possible for me to stay silent whereof I can't speak as Witgenstein suggest in his famous sentence.

**fumeusement: with sadness, with grief, quarreling, with haziness, intangibility,
 tendency to rise, shifts in shape, easily wafted or dissipated  with the heat that fum produces, just like the fumeurs.

fumeux fume par fumèe, a whole world of fume (2023) for five voices

Disquiet Junto Project 0632: Shear Wind
The Assignment: Make the most of the disturbance within a field recording.

I made a windy recording down by the Redondo marina.  It was a quiet day for once.  It's usually kind of noisy with human activity.  Good day for a windy field recording with just a hint of birds and sea lions.  

I converted the field recording to midi notes.  Ableton has a few options when you convert audio to midi, "harmony, melody, drums."  I chose harmony first and didn't get very many midi notes from the conversion, then chose melody and got a lot more.  I used both and even made one more sparse one.  Chime sounds seemed like a natural choice.  I put the same midi effect on all midi tracks making all the notes part of the same 5 note chord.

With the wind recording itself I faded in some resonator and phaser, and faded them out again towards the end.

More on this 632nd weekly Disquiet Junto project, Shear Wind — The Assignment: Make the most of the disturbance within a field recording — at: https://disquiet.com/0632/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://juntoletter.disquiet.com/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0632-shear-wind/

blame it on the wind (Disquiet0632)

Justina Repeckaite’s music is described by critics as having „many similarities to a diamond“ (Ben Lunn, UK), „inviting, constantly changing, gritty and lustrous” (Max Erwin, USA), and „drawn with the sharpest pencil“ (Šarūnas Nakas, LT).

Sturnus vulgaris cohibitus

Justina Repečkaitė

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