Zachary Bush, Contrabass

ASU Art Museum
April 20, 2017

Only Down

GIS (2017) - for amplified clarinet, trombone and percussion, with electronics

ELISION Ensemble: Richard Haynes, cl.; Benjamin Marks, tbn.; Peter Neville, perc.
Concert recording, Harvard University, May 20, 2017.

". . . d'un archétype métallique" (2017) 
for eight instruments and electronics

Live recording
May 1st
Columbia Composers Concert series 2017
DiMenna Center for Classical Music - NYC

Talea ensemble under the baton of Jeffrey Means. 

The piece addresses the coexistence of multiple acoustic and electronic sonic entities while it explores the relationship between instrumental and sound complexity. The framework of this project takes advantage of the technology and generates an electrified sonic world that counterbalances the acoustic complexities articulated by the ensemble. Metallic sounds, idiomatic frictions, granulated textures and chaotic microtonal clouds are some of the sonic entities interacting within a dramaturgical framework of intricate sonic interconnections and electrified acoustical masses. The generalized standpoint stems from the genesis of an electrified sonic world derived from the electronic processing of acoustic sounds that behave as the sonic extension of the instrumental ensemble in a unified way – the assembly of a “sonic twin”. The emergence of gestural interactivity pointing to an idiomatic stream of sonic behaviors captures the dramaturgical framework of the piece, highlighting a network of distinguishable sonic objects all perceived in a unified sonic fabric.

". . . d'un archétype métallique" (2017), for eight instruments and diffused electronics

Tara/Q’iwa is a duet for tarkas and cello written in collaboration with the cellist and composer Émilie Girard-Charest.

The Quechuan terms « tara » and « q’iwa » refer to different timber qualities. « Tara » is associated to a hoarse sound, vibrant and full of energy, while « q’iwa » is a clear, thin and relatively weak sound. These concepts carry within themselves a particular perspective on how consonance and dissonance are socially perceived and challenge our Western perceptions. The « tara » is represented by strong multiphonic sounds that may sound harsh to our Western ears, but, in the Andean aesthetics, this dense and wide sound represents the main tone while the « q’iwa » being clear, simple and well-tuned according to Western habits, carries a range of highly ambivalent or even negative connotations.

The tarka is a duct flute of the Andes, usually made of Mahogany or Palisander wood. It is played in ensembles called “Tarkeadas” of 12 to 50 performers with a percussion accompaniment, and traditionally during the rainy season, from the beginning of November to the Carnival, in Febrary/March, either in rituals to thanks the Pachamama, to put bad spirits away or to convene the dead. 


We started our exploration of this unusual instrumental combination by doing several improvisation sessions that we recorded and then analyzed in order to develop a language based on a common ground. We then agreed on different types of sonorities and musical gestures that we wish to develop further.

Tara - Q'iwa para Violonchelo y Tarkas

For organ and electronics. Live performance from an Automatronic concert at the Sophienkirche, Berlin, in 2016

Sophienkirche 5.5.2016

Quarry (2014)

Instrumentations: Bass Clarinet with Live Electronics 
Clarinet: Samuel Dunscombe 
Live Electronics: Hunjoo Jung 
San Diego, USA

refLEction refRAction difFRAction [2016]

for amplified violin and piano. 

performed by Oerknal!:
violin: Mariana Hutchinson Siemers
piano: Daniel Walden

premiere recording from 17.06.2016, Mykonos, Greece.

valse triste redux

Premiered by the JACK quartet on 11-15-17 at the University of Iowa.
Austin Wulliman, violin I
Christopher Otto, violin II
John Pickford Richards, viola
Jay Campbell, cello

This quartet is a reflection upon my experience in an isolated and stagnant place. In this extended period of time, I felt comfort and unease become less distinguishable from one another. Though no part of my experience was especially sudden or discontinuous, the subtleties were always in flux. It became evident to me that I cannot hold a steady state, nor can anyone or anything; and at the closest level of observation, all that remains is weakness and volatility.

drifting through, unspeaking (JACK)

Perro rojo fantasma (2017 / rev. 2018) - for viola, 2 violins, cello, piano, and electronics

Recording of the live performance by the JACK Quartet and Daniel Walden at Harvard University on May 19, 2018.

Perro rojo fantasma

Wave

Rage Thormbones (Matt Barbier + Weston Olencki): modified euphoniums, reclining trombones, motorized mute, electronics

Live recording: December 12, 2018 at Arete Venue and Gallery, Brooklyn, NY.

(stay for the end...)

Hexa

Consider nothing.
Subsume its meaninglessness.
Output entropy.

Only Down

JP Lempke

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