We park the car close to Col de Joux Plane. As we pull things out of the trunk, my ears open to a interplay of sounds, which strikes my unsuspecting ears as a wild, atonal improvisation performed by gamelan (ensemble). I turn to see a stream of cattle pouring alongside a nearby shed, following a well-trodden path close to us, along the edge of a small lake. Around each of their necks is a thick band of leather or canvas on which hangs a metal bell (looking handmade) with its unique sound. I stand for a while with my eyes shut and listen, enraptured. Above the continual ringing and bonging of my initial perception, I begin to hear individual sounds, sonic differentiation, and the question arises: 'what does the ringing of these bells sonify?' The movement of the cattle, for social or gastronomic reasons? A couple of hours later, traversing the mist-covered ridges, we still hear these bells, now transmitting the reverberation and decay of the reflection from the surrounding mountain surfaces as well: depth, distance and location. I wonder how the cows adapt (or don't) to the incessant sounding. Still later I learn that these sounds can transmit information concerning age, gender, species and fertility.

Some days later I make this recording, moving cautiously toward and among the cows and recording them from a few different positions. During the final 16 or so minutes of my 41 minute recording session I fell into a completely absorbed state, sitting on a mossy rock, eyes shut, lost in the sea of sounds and overwhelmed by the pure presence of these magnificent animals. At some point they started moving, and around 16:00 in this edit, I felt a large presence behind me. A cow was snuffling my backpack and gave me a gentle nudge. I decided that the message was 'time to move on now' and went on to join my herd.

Unfortunately the limitations of my Zoom H4n with Rycote windscreen are quite apparent under these windy conditions. This recording is only a shadow (or should I say echo?) of the rich variety of sounds coming at me from all directions in the actual experience.  

Symphony of Resting Cows (Symphonie Des Vaches Se Reposent)

4 Preludes for Harpsichord, for Baroque Trio
III. Not Yr Mom's Continuo Playing
IV. Rolling

from New Music for Old Instruments, for sale at http://www.cdbaby.com/cd/flyingforms

Music by Nissim Schaul
Performed by Flying Forms

The original work, for harpsichord alone, was conceived as a set of relatively simple technical studies, covering a range of peculiarly harpsichordy techniques. The trio version adds a healthy touch of virtuosity to the mix. This is two movements out of the four.

    III. Not yr mom's continuo playing: (no comment)
    IV. Rolling: harpsichordists usually roll multi-note chords rather than playing them as a block

The piece was arranged for trio at the request of Flying Forms. 

New Music for Old Instruments preview: 4 Preludes for Harpsichord, for Baroque trio. III. & IV.

Kyrie For Accordion

150116-1

Recorded live at the Shadowbox, Durham, North Carolina, 13 November 2016. Concert with Cyanotype.

Shadowbox, Durham, NC, 13.11.2016

Wounded Keens (Live)

Breathe was written for pianists Izzy O'Connell and Kathleen Supové, which incorporates pre-recorded sound design and spoken narration.  The concept of this piece comes from my interest of the condition known as Cystic Fibrosis, a genetic disorder commonly affecting the lungs, and other organs of the body.  A good friend of mine was born with this condition, and her stories have shaped my view of my own fragile health and mortality.  Born in South Africa, at the time of this commission Alice Vosloo was surviving her first double lung transplant since her operation in 2008 (after this collaboration she then went on to receive her second double lung transplant in October of 2017).   For myself that has a very serious case of asthma, I’m aware that my own health is a small comparison to the struggles of someone who has CF, as I am constantly mindful of what they experience on a daily basis when I take my asthma inhaler every morning.  There are strong arguments in the medical community that Frédéric Chopin may have very well suffered and died from our modern diagnosis known as Cystic Fibrosis.  Due to this research and revelation, the piece is constructed in many forms, as it incorporate elements of music quotation from Chopin’s various works (Nocturne Op. 9 No.1 in Bb Minor, Prelude No. 15 in Db Major, and Prelude Op. 28 No. 4 in E Minor) juxtaposed with sounds of breathing and circulation, with splices of narration from an interview of my friend talking about this disease.  I was intrigued of Alice’s transition into her new lungs, and how she felt the first time her new organs felt completely fresh and new, which therefore lead me to also incorporate chord progressions from Pink Floyd’s Breathe (In the Air).  The use of two pianos in this work is a multi-sided canvas of both experiences, the prognosis of this condition, and the new freedom that is given to successful lung transplant receivers. Although not all surgical procedures of lung transplants are successful, the gift of a new life from this medical perspective intrigues me on a profound spiritual level… 

The interview with Alice for the spoken narration component of this work was conducted at her home in Johannesburg, South Africa on 18 January, 2017. In addition, I would sincerely like to thank Oli Lewington, Engagement Director from the Cystic Fibrosis Trust in the UK for his assistance and guidance on this project.  Breathe was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation, and was premiered at the Yamaha Piano Salon in New York City on 26 January, 2017.

Breathe

Planctus is a work for otherworldly string quartet and is a lament. It is about time, timbre, and based on the interval
structures of some viol tunings (open strings, mean-tone thirds, and the 10:9 ratio). The parts behave like tape loops
where they fall in and out of time and alignment. Rhythmically, the work is built from small motives that develop while
referencing, responding, and influencing one another. All voices are equally important.
-Kristina Wolfe

Planctus - Kristina Wolfe (VQ New Works Competition Winner, 2016)

Premiered and written for Accordant Commons: 
Soprano- Stephanie Aston and Mezzo-soprano Argenta Walther
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In the 19th century, idea of marriage for love wasn't the most commonly known thing, and moreover, it was seen as a business transaction, and oftentimes, the wife as a mere object for a means to an end, who often got the short end of the stick.

The Contract

"tuning" excerpt from Eric Wubbels's "the children of fire come looking for fire" for violin and prepared piano, as recorded by Josh Modney and Wubbels on Modney's "Engage" album (New Focus Recordings)

http://www.newfocusrecordings.com/catalogue/josh-modney-engage/

Eric Wubbels: "the children of fire come looking for fire" (excerpt - "tuning")

Enregistrement le 16 février 2020,
par le consort Sit Fast, dirigé par le compositeur
Festival Présences,
Auditorium de Radio France

Lignes de lumière, for viola da gamba consort

Wet Ink Winter Chamber Concert - Music from hcmf// 2019
December 13, 2019 @ St Peter's Chelsea

Kristina Wolfe: A Mere Echo of Aristoxenus (2019)
I. Ghost Aulos for Vitruvius
II. Heptaechon

Performed by Wet Ink Ensemble:
Alice Teyssier, flutes
Alex Mincek, saxophone
Ian Antonio, percussion
Eric Wubbels, piano
Josh Modney, violin
Sam Pluta, electronics

Kyrie For Accordion

kristinamwolfe