for flute, clarinet, violin, Cello & piano – 2008, ca. 21’
wih or without conductor.
Ricordi Publisher, score in sell: Sy. 3922

à propos, for flute, clarinet, violin, Cello & piano

Posthaste for singing cellist (2021-2022), composed by Lily Koslow.
Written for and performed  by Andrew Yee
Commissioned by the Composers Guild of New Jersey

Program Notes:
Posthaste for solo cello was inspired by a quotation from Bach’s Cello Suite No. 1, Minuet II. Musical fragments dance, flit, and swirl in dramatic discourse until the listener is transported back to the 18th century, where the quotation appears in a veiled, distorted format. This presentation of the Bach represents an imaginary historical recording of the first-ever performance of the piece, which in reality occurred long before recording technology was developed. Inspired by the lo-fi aesthetic of degrading physical audio formats such as an old wax cylinder and a warped record, blips in the music intensify to the point of ripping a hole in the space-time continuum, at which point the Bach is released from the constraints of its historical context and free to meander and flourish in the modern epoch. The work is dedicated to Andrew Yee, whose radiant joy and love of music inspired Lily as a budding musician. Lily included humming and sung vowels to explore how Andrew’s voice can fuse with various timbres of the cello.

Posthaste

For contrabass flute, oboe, piano, percussion, violin and cello.

Abattoir I - 6 instruments | 2023

Tristan Murail - Vues aériennes
Anne Mercier, violon, Florian Lauridon, violoncelle, Antoine Dreyfuss, cor, David Chevalier, piano
Concert du 40e anniversaire de l'ensemble itinéraire
30 novembre 2013


Tristan Murail - Vues aériennes

for 12 musicians
Commission of Ensemble Éclat
Live recording of the World Premiere (26/01/2024), performed by Ensemble Éclat, conducted by Charles-Eric Fontaine
I - L'attente
II - Le jeu
III - Les noces

Au Bord De La Nuit (11/2023)

live recording of the premiere played by the ensemble ilinx at udk berlin on the 29.11.24.
flute - meret louisa vogel
clarinet - dominik car
violin - axel borgqvist
violoncello - cosima federle
piano -  yan cai
percussion 1 - cheng-ju chang
percussion 2 - tzu-yin lin
conductor - bar gottfried
recording - david pöll
sound engineering - isaak hövel

wo ich glaube zu sein (for ensemble)

Vytenis Gurstis (flute)
Vytautas Giedraitis (clarinet)
Indrė Baikštytė (piano)
Ingrida Rupaitė (violin)
Simas Tankevičius (violin)
Monika Kiknadzė (viola)
Povilas Jacunskas (cello)

Spark - Invisible

Saturnales (2015)

perf. by Bang on a Can All-Stars live at Korzo Theater in The Hague, The Netherlands.

"Horo" (Хоро) is a Bulgarian word for national dance. There are many different types of dances with variety of time signatures, scales, tempo,  instrumentation etc. but there is always one thing in common -- the dancing is about constant tension and acceleration of the tempo in order to leave the participants in it breathless at its end.
In this "Horo" the electric guitar imitates the national bagpipe and the percussion set up (the two sided drum) is an essential imitation of  a Bulgarian bass drum called Tupan (Тъпан). In addition there is а sampled bagpipe sound for the keyboard part.
Dancing in Bulgaria is much more than a row of complicated moves, it reflects character and devotion to a purifying rhythm.

HORO

Premier performance by Ensemble CRUSH (Germany) on 25.10.2017 live at Bulgarian National radio during AGITATO' Sofia Chamber Music Festival.
Composer's notes: My very first memory is from my baptizing. I must have been about 2-3 years old. I clearly remember the large hand of the priest, the soft but bright light from above my left and the touch of the called water, which made me cry. It took place in “St. Ivan Rilsky” Church in my neighborhood in my hometown of Plovdiv. The memory has popped in and out of my mind through all my life like a shadow. Lately, I have been experiencing the strange sensation of an immense difference and an immense likeness with that small-baptized baby. Somehow, this memory merges two distant moments in time, thus making them into a single small point.
For me music is the only other medium that could bring two moments into one. Therefore, I chose the musical sound to describe this peculiar sensation. In addition, to build and to rebuild my own inner temple through acoustical means – vibration, antiphonic textures, timbre; to write a map with ever-changing dimensions of a sound-space, that one can bathe his own soul in just for the beauty of the process.

Coordinates of a Temple

REIN (Rhaeto-Romanic for the river Rhine) speaks of severe challenges threatening the Rhine and other rivers due to climate change and drought. Rivers are vital arteries, and this music reflects on their life-sustaining essence, and the environmental precariousness of the world, we currently live in.

REIN has been commissioned by ZeitRäume Basel for the Basel Sinfonietta.
World premier September 15, 2019 under the baton of Baldur Brönnimann,
@Mitteldeck Basel, on the river Rhine
Recorded by Swiss Radio SRF 2

Posthaste

Lily Koslow

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