Name: Duets by Kirsten Milenko in Evolving Waves (November 2019)
Duration: 5 min 48 s
Description: A piece on the subject of finding clarity as the immediate surrounds continue to blur. Composed for the Gildas Quartet and Lucy Humphris - written at Dartington while studying with Sir Harrison Birtwistle.

Evolving Waves (November 2019)

Ally Morgan - Isolation Song (Live Recording)

a scene_merevees

Géranomachie (2021)
pour grand ensemble et électronique
Commande de l'Ensemble Intercontemporain et de l'Ircam-Centre Pompidou

3 December 2021, Cité de la Musique-Philharmonie de Paris 

Direction: Léo Margue
Rim: Carlo Laurenzi

Géranomachie (2021)

For Soprano and Ensemble
Recording performed by Juliet Fraser and Klangforum Wien, conducted by Bas Wiegers.
Commissioned by SWR, Huddersfield Contemporary Music Festival and Casa da Musica Porto. 
First performed by Juliet Fraser and Klangforum Wien, conducted by Titus Engel at Donaueschingen Musiktage, 14 October 2016.

View score - 
https://issuu.com/editionpeters/docs/ep14188_online

Skin (2015-16)

Touching moment today, when checking out the acoustic in Tunnel Grić, the security guard, who was obliged to stop me , tip-toes over and silently signaled to stop recording , so as to not ruin my take, hvala puno gospodine! #undergroundmusic #zagreb #croatia #clarinet

Tunnel Gric Zagreb

Recorded live by City Music Foundation, June 2018
Guitar Andrey Lebedev
Piano Joseph Havlat
Violin Iona Allan

Radiohead- How To Disappear Completely

LA SANGRE Y LA PIEDRA
(2018-19)

After the poem "Llanto por Ignacio Sánchez Mejías" by Federico García Lorca
For vocal sextetand instrumental sextet
Premiere: vocal soloist and Kamerata from Musikene. Gabriella de Esteban (cond.) and Stefano Scarani (video). Musikene, January 2019

Live recording

More info: https://en.manuelhidalgonavas.com/la-sangre-y-la-piedra

La sangre y la piedra

Performed by Flinders Quartet. Concert footage filmed by 5stream; audio recorded, mixed and mastered by Ana Paula Gargantini, APGMproductions. June 22, 2019. Library at the Dock, Melbourne.

Video of performance can be found here - https://vimeo.com/345175559 

If you're interested in seeing the score, please get in touch.


PROGRAM NOTES

The String Quartet Project is the beginning of a journey that will never be completed. I will continue to add new movements to the piece indefinitely. This suite of music will grow and grow, each movement informing the next. The compositional approach of each movement is informed by the context in which it is written, and the ensemble who performs it: with each string quartet leaving their mark on the work as a whole.


I - The Slow Unfolding of the Self

These are the first marks made for the work. I wanted each note to have gravitas, hence the slow, austere mood. It is almost without pulse and utilises frequent dove-tailing. Harmonically, I've been inspired by the work of the American composer Elliott Carter.

II - Foreign Gravity

The second movement oscillates between soloist and the ensemble in a call and response-like fashion. Instructions to play freely, steady and aggressively are given. It consists of hocket-like sections, all-interval tetrachords and an absence of extended techniques.

The String Quartet Project (I) The Slow Unfolding of the Self [2019]

-Waringin-
Huge Banyan trees (Waringin/Bingin) are important landmarks in most Balinese village, often at a central crossroads.  These behemoth trees are allowed to grow untamed and often grow to nearly 50 metres.  They are highly sacred, and it is believed that both auspicious and malevolent spirits spend their time nearby these twisted, sprawling, almost grotesque trees. Like cathedrals in English towns, Banyan trees can be seen from hundreds of metres away; these age-old sentinels loom over the village.  The Balinese word "Bingin" carries a sense of strong and solid foundations, and as such these trees are a symbol of tradition. 

Composed by Oscar Smith
Dedicated to Dewa Alit and Gamelan Salukat
Performed by Gamelan Salukat
Recorded by Antida Studios at Balerung Mandera Peliatan
Mixed by Raka Bintara
Film by Ferdinand Parulian

Thanks to:
-Dewa Alit
-Aya Sukuma
-Dewa Artayasa
-Agung Oka Dalem Mandera
-University of Sydney
-Australian Cultural Fund
-Everyone who donated

Musicians/Pemain:
PEMADE 1: I Wayan Sumerta
PEMADE 2: I Dewa Gede Artayasa
PEMADE 3: I Kadek Putra Agustina
PEMADE 4: I Wayan Galung Marwanaya

KANTILAN 1: I Made Pagarat
KANTILAN 2: Dewa Gede Teja Nata
KANTILAN 3: Gusti Ngurah Trisna Adi Putra
KANTILAN 4: 

CALUNG 1: Gusti Ngurah Oka Wardana
CALUNG 2: Kadek Krisna Ripayana
JEGOG 1: I Wayan Sukadana
JEGOG 2: I Putu Okto Saputra

REONG 1: I Kadek Janurangga
REONG 2: I Putu Astianawan
REONG 3: I Wayan Wahyudika
REONG 4: I Kadek Krisna Arimbawa

SULING: I Wayan Ariadi
SULING: Made Dwi Cahya Diva
SULING: I Kadek Prima Santosa Dwi Putra

CENG-CENG: I Kadek Prima Santosa Dwi Putra
KENTUK: I Putu Raka Suantana
GONG: I Gusti Putu Alit Indrawan Mataram

Waringin

A piece on the subject of finding clarity as the immediate surrounds continue to blur. Composed for the Gildas Quartet and Lucy Humphris - written at Dartington while studying with Sir Harrison Birtwistle.

Duets

Somewhere in the Middle explores the notion of cultures and composers feeling a loss of identity and place in their own music. It leads the listener to question whether feeling a sense of identity and place in a work of music is important and whether imposing labels on music is really necessary. This work seeks to blend traditional and contemporary musical worlds and is influenced the contemporary classical music of Seoul, South Korea.

Performer: Elliot Pascoe
Recorded: 2012
Composed: 2011

Somewhere in the Middle (solo piano)

Cherry Pick

For electric guitar and ensemble
Performed by musicians from the Ensemble Intercontemporain, DAI students from CNSMDP and Samuel Taylor (electric guitar)

I have a deep attraction to the ruggedness of forests and the intense vibrations they emit. Although this piece was not directly inspired by forests, nor is it programatic in other sense for that matter, I feel it brought the nature lover out in me. I think of my music a bit like an English garden, in which the ruggedness of nature is allowed to resonate, with the gardener guiding plants rather than forcing them into geometrical shapes and forms. While I do write very precise harmonies, timbres and textures, I like to allow the music to breath and flow in a way that reflects the natural textures, motions and layers of a forest.

Quakin' 'n' Groovin' (Ensemble Intercontemporain)

Rebecca Saunders, Blaauw (2004) for double bell trumpet
Recorded in February 2019, at the Emanuel Vigeland Mausoleum in Oslo, by Sebastian Schottke

Rebecca Saunders, Blaauw, recorded at the E. Vigeland Mausoleum

Gremlin (2019)for brass mouthpiece and harmon mute. Composed for and performed by Tristram Williams. Premiered July 30 2019, Ian Potter Southbank Centre, Melbourne, Australia.

Gremlin is an expansion of a miniature composed at the 2018 Darmstadt Summer Courses for New Music. Scored for brass mouthpiece and harmon mute only, the piece focuses on the physicality of brass playing technique, specifically breath, throat, tongue, and hand movements. When isolated and amplified, the sounds created by these techniques take on a dark, mischievous quality, hissing and growling like a small, furry creature that shouldn’t be fed after midnight.

Gremlin (2019) - Tristram Williams

Making Waves is a monthly series of curated playlists streaming one hour of quality, new composed music.  Founded in 2015, Making Waves shines a spotlight on the music of Australian composers. Fresh playlists are released on the first day of each month and older playlists are made available all year round via our archives; perfect for those with just a few minutes to explore one track or for hours perusing a myriad of diverse sound-worlds.


The project offers wider exposure to emerging composers, their music and the talented performers who champion it. We also provide an easy-to-access platform for listeners to sit back and enjoy a curated hour of exciting new music or explore our living composers more actively.  The playlist themes (and media through which they’re shared eg. Soundcloud, YouTube) evolve each month depending on the content received directly from our talented composers.

At its core Making Waves is a curated listening space. In 2016 we branched into producing our own content through a special project, Making Conversation, thanks to a successful crowdfunding campaign. Making Conversation: Australian Composers Project is a series of podcasts and vodcasts presenting the human side of living Australian composers, released on popular audiovisual and social platforms mid-2017.
Composers Lisa Cheney (Melbourne) and Peggy Polias (Sydney) are curating this project.

 Listeners, we encourage you to explore current and past playlists and discover more about our featured composers. 

Composers, we encourage you to send us links to your streamable audio via our website. Visit: www.makingwavesnewmusic.com for more information.

Australian composer-conductor based in Paris. 

Studied composition at the Sydney Conservatorium of Music and the Royal Danish Academy of Music, followed by the 2022-23 Cursus de composition et d’informatique musicale at IRCAM. 

Studied conducting at Conservatorio della Svizzera italiana, Royal Academy of Music on the Sorrell Conductors Program, and currently at the École Normale de Musique de Paris. 

Académicienne for the 2025–27 Académie internationale des jeunes compositrices at l’Orchestre de chambre de Paris.

Duets

Kirsten Milenko

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David Evans

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