Excellent generative music programming & recordings *

At the 2021 Composers Conference, Contemporary Performance Institute, and Chamber Music Workshop. Kurt Rohde, Artistic Director. 

Nicholas DeMaison, Conductor
Barry Crawford, flute
Benjamin Fingland, clarinet
Adrian Morejon, bassoon
Patrick Pridemore, French Horn
Sunghae Anna Lim, violin
Louise Schulman, viola
Chris Gross, cello
Tristan Kasten-Krause, contrabass
Christopher Oldfather, piano
Matthew Gold, percussion 

On Friday, March 6, 2020 I played a show at MOXSonic, where we were speculating if SEAMUS 2020 (occurring the next week) would be canceled because of “that virus thing.” March 8, I received my acceptance to the 2020 Composers’ Conference; March 9 SEAMUS was called off; My Grandfather passed away March 10. March 11, I began this piece; March 12, while driving to Nebraska for my Grandfather’s funeral, the University of North Texas sent out their emails “extending spring break a week” in order to effectively allow for a transition into online instruction, which was then officially announced the next day. The 2020 Composers Conference became virtual early in May: by this point, a significant portion of this piece was already completed for an ensemble twice the size, but it was no longer a question if the COVID-19 pandemic would be a thing for [quite a while]. In retrospect, working on the piece between March and May might have been optimistic; more an act of compartmentalizing a vast array of emotions than purposeful composition work. Still, when the 2021 Composers Conference was announced, I returned to this work (having essentially forgotten it) to find that I could certainly pick up where I left off and bring it into the new instrumentation, forming the genesis of the piece before you.  
It’s strange to think that our mental demarcation of time is almost never accurate to our real experiences. There are clear epochs in our lives (pre/post COVID, etc.) that we use to orient ourselves with the events that we experience. Either that, or we will often cluster memories and forget what happens in-between. Still, the reality is that we experience life on a continuum: events, persons, situations enter into our lives, dovetailing, overlapping, departing, and returning to create this tangled mess of happenings that make up our lives. The common denominator here, however, is you- the main character of your story. The form is relatively intangible, but all things point back to what you have experienced and how you ultimately find the meaning in them. It is beautifully tumultuous, but it can be somewhat smoothed out when we stop, reflect, and work out the network of these who, when, where, interactions. While our memories are abstract, the ripples they leave are often concrete: we grapple with them on a daily basis, and the decisions that you made long ago form a part of that bigger story.
My story with this piece crosses what will almost certainly be a paradigm shift in my life (probably everybody’s). So perhaps this piece is a reflection of that (I certainly was interested in these themes while writing it), or maybe it is just a thing that I just happened to carry with me (I do not take for granted the fact that this piece even exists again). Either way, it’s part of that complex network of intertwined happenings and it has been there the entire time. It is not so much about these things, as much as it is a part of them. Coming in and out, wading in the deep of a story.

All Things Seem Mention of Themselves

A collection of fearless love songs, inspired by Spring and the pains and ecstasies of nesting season. A gallery of lovelorn electronic ballads in the name of heartache. "Wild Love To Grow" is Eastern Nurseries' longest and bravest release to date, as well as the first to be presented physically as a double cassette edition.

"When I was alive, I aimed to be a student not of longing but of light."

EN28

Photo by Toby Ziff
Mastered by Diego Escriche

Hydropsyche - Fugue In G Minor

For orchestra and recordings of children's improvisations, multichannel (2023)

Defiance of the Glorious Children is a piece dedicated to and inspired by the adventurous, fresh, boundless musicianship of children and their freedom in experimentation and improvisation.

The set of short pieces (improvisations), made by children, was the basis for my work. I have interpreted orchestra as part of this ensemble, by taking as a central point, the idea that all the music revolves around the structure of the children’s recordings. 
Fragmentation of form (and sound), and principle of collage, are defining the work in many ways. Non-standard multichannel speaker placement, division of orchestra into smaller groups, and breaking of the clear boundary between audience and sound (audience and orchestra), support the wish to come closer to the music - to all the crackling, squeaking, humming nuances of sound that reflect its simplicity and instinktiveness which is preserved in the recordings that are being played over loudspeakers. 

Performed by the 
RTV Slovenia Symphony Orchestra
Conductor: Steven Loy

In cooperation with the Children's Improvisation Ensemble of the Basel Music Academy, "ImproNext" with:

THAINA DE SA, flute
REEM AKRA, violin
MERLE AREND-HEIDBRINCK, cello
CONSTANTIN GIGER, percussion
MAXIM KRÄUCHI, percussion

under direction of Sylwia Zytynska

Recorded by RTV Slovenia

More info at: https://www.svetlanamaras.com/works.html

Defiance of the Glorious Children - RTV Slovenia Symphony Orchestra (excerpts)

C.O.C.O. Laborant # 03
An encounter in Generation Gap with C.O.C.O. 
90. Herbstausstellung Hanover .Carlotta Oppermann, Christiane Oppermann Performance .Sound / Textures :Trampelfâd/Max Elzholz
 Performance  Passage Theaterstr. 3 Künstlerhaus Hanover 23-09-2023
video 
https://youtu.be/CJa406l810c

C.O.C.O. Laborant # 03 -Music by TRAMPELFÂD

Kleines absurdes Hörstück, Dezember 2023

Kleines absurdes Hörstück

This is a binaural rendering from a quadriphonic version for loudspeaker of Rarefaction initially created in stereo for loudspeakers. Scrolling down you can find the track on my page and compare both. Each type of listening is a different experience. The stereo version is made for loudspeakers not headphones (it will break the "stereo image") where the binaural version is made for headphones not loudspeakers (il will break the 360° spatial illusion). Leave comments, tell me about your listening experience in both cases.

RAREFACTION Binaural

this track was generated using a software-based modular synthesizer patch I initially created in early 2015. the algorithm first analyzes a number of selected audio files (field recordings, samples, etc.) to find similarities and counterpoints between them. it then uses the data to mix the files together as well as process the resulting audio through various filters, delays and granular effects. additionally, frequency and amplitude data is extracted from the audio and used to control a variable noise generator, FM synth and multi-band resonator effect.

created in ABox 2.42

tides and echoes

Noctalgia

oh my ship, she is ready-oh,
to bear her weight.
so come, sweet comrades,
o'er the stormy sea

take my hand love, 
and my heart I will give to thee.
oh come, my love,
and remember me.

oh my ship, she is ready-oh

This is one of 3 tracks that were made solely by using the analogue synthesizer EMS Synthi 100. For each track, there was a single patch and the material was recorded live in one go. Rhythmical synchronization of the material was done by using the Synthi's sequencer. Simple live manipulations included putting a pin or two in and out and switching on and off the mixer channels. Additional panning of each individual channel was done on a computer. These tracks demonstrate the effect of extremely simplified musical material produced by using the not-so-simple sound tool (for the reference, try figuring out and programming a Synthi 100 sequencer:)). Tracks are named by the number of sequencer steps used in that piece. Recorded live at Electronic Studio - Radio Belgrade.

2019

From the album STEPS: https://svetlanamaras.bandcamp.com/album/steps

Svetlana Maraš©All rights reserved
©SOKOJ

World has slowed down. 
Hidden beneath a skin of fear.

All Silver was created during the first days of the Corona shutdown.
Made with passion and modular synths.

Sound and artwork by Thomas Breuer

tides and echoes

kyber tongues

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