This was a piece composed for a production of Samuel Beckett's "Breath" at Theater Calgary in October 2021.

A special thank you goes to Mark DeJong for the integral solo bass clarinet part.

Music for Samuel Beckett's "Breath"

Brocade

IMPORTANT: Please listen at a LOUD comfortable volume that makes your ear parts move a little. You should hear a lot of air shifting. (Ideally headphones or biggish bass-friendly speakers.) 


Written in close collaboration with Distractfold Ensemble, featuring: 


Rocío Bolaños - bass clarinet (w transposition pedals)
Daniel Brew - electric guitar
Linda Jankowska -  bowed kick + snare drums (drums outfitted with bridges + strings)
Christian Smith - bowed kick drum (as above)+ other percussion
Alice Purton - cello (w transposition pedals)
Sabrina Schroeder - transducers (playing bass drum, floor tom, and plywood cubes via live-manipulated sound waves through transducers).

Transducer performance interface developed with programming and design support from Josiah Oberholtzer, and from Michael Acker of the Experimentalstudio de SWR Freiburg. 

This live-performance recording was made at the 48th Internationale Ferienkurse in Darmstadt (Aug. 7th, 2016)

BONE GAMES (2016) for amplified ensemble

https://cassandramiller.wordpress.com/2015/05/10/about-bach/

This string quartet is an expansion of a solo work for viola (of the same name) which was commissioned by philanthropist Daniel Cooper for violist Pemi Paull. It’s a piece about process, about Pemi’s musicality, about Bach of course, and in the end, about the Quatuor Bozzini.

I first took a recording of a short phrase (the first phrase in major) of the famous Chaconne from Bach’s Partita no. 2, performed live by Pemi. I then meticulously transcribed the recording with the help of some software — this is a process I’ve developed over some years to apprehend the exact rhythmic musicality of a performance, capturing as well various artifacts such as the viola’s upper partials as they change within each bow-stroke.

The opening of the piece is simply this transcribed phrase of Bach, with a harmony of my own making, which turns the phrase into a gently jaunty chorale. From there the phrase goes through a somewhat inaudible process that is simply let to run, until it runs itself out. It’s a constant meandering, a non-developmental piece in an extreme sense. My interest (and freedom) in exploring such a simple form comes directly from working with the Quatuor Bozzini, and this string quartet version is a souvenir of gratitude for years of great inspiration.

About Bach

About Bach, Quatuor Bozzini, premiere, excerpt: last 6 minutes (2015)

Quatuor Bozzini performs All I dreamt; twice as much as a part of Sound Festival Scotland (Sound and Music).  King's College, Aberdeen.  October 26th 2017.  

Audio recording and editing by Lawrence Dunn.

All I dreamt; twice as much.  for String Quartet.

Performed by Quatuor Bozzini: Isabelle Bozzini, Stéphanie Bozzini, Alissa Cheung, Clemens Merkel
Live recording by Lawrence Dunn 
King's College Chapel, Aberdeen
Sound festival, October 2017

Program Note:
We've heard about your trouble, Tom,
In rousting out the Boer;
You shall not fight out there alone
Amid the cannon's roar,
The blood that stirred our noble sires
To build up England's Fame,
Re-kindles in Colonial sons
Their prestige to maintain. For-

We are the boys of the Southern Cross
Our stars shine on our flags-
Emblazoned with the Union Jack,
To show we're Empire lads.

From storm-torn hills where tussocks wave,
And dells where tree-ferns grow;
From snow-capp'd peaks, and rock-bound coast,
We come,-to strike the blow.
Rest, British sons, till South-cross boys
Canadian brothers meet-
Then on we'll press, an Empire's strength,
And make the foe retreat. For-
...

excerpted from Boys of the Southern Cross

Thanks to Sound and Music, and Quatuor Bozzini for helping create this piece, as part of Composers' Kitchen 2017

"...amid the cannon's roar,"

Original Work by Rebecca Bruton.  Performance by Quasar quatuor de saxophones.

Mammalian Mother Tongues, for Saxophone Quartet.

Ways of Returning (2020) - for string quartet and electronics
Part I (Imitation)
Part II (farbenfuge)
Part III (Monophony)

Performed by: Quatuor Bozzini
Electronics - Anthony Tan

Aesthetically, this work represents the mixing of the Classical String Quartet genre with Noise, and Dark Ambient genre signifiers. Theoretically, the work explores timbre through the historical abstraction of modal and tonal counterpoint. The first movement builds timbre through the imitation of acoustic strings by sampled, and synthetically modelled strings. The second movement is a timbre fugue. The third movement is an Industrial Ritual and explores the micro-synchronicity within a pulsation and its effect on timbral blend.

Ways of Returning (2020) - Part III (Monophony) - Quatuor Bozzini - Live Recording

For flute, clarinet, violin, cello, piano & percussion. 

Blight (2013)for pierrot + perc

lesley hinger