In “Shreds of New Walls”, I use bits and pieces of music from two recent compositions (not mine) that vary in style and substance: “Walls Like These” by James Romig (2011) and “New Skin” by Alexandra Gardner (2003/4). Romig’s composition is a seamless moto-perpetuo atonal work for cello and piano, while Gardner’s (for alto flute and electronics) slowly builds from stretched out tones and extended techniques to flowing melodic gestures. My intent was to use material from these two works to create a new composition. The result is a kind of unplugged mash-up, where echoes of Romig and Gardner are heard through my voice.        

Shreds of New Walls

This is the 1st 15 minutes of a 90 min performance of John Cages Variations III. Here is a description:

As our season finale, we are planning a 100 person version of John Cages Variations III. We will set up shop in the large and beautiful space in the Somerville Armory. Filling every corner of the hall and the mezzanine, we will create pathways and multiple sitting areas among the performers. The audience will be invited to walk among the performers and to stop and observe for a while at different vantage points. The act of moving from place to place will create different mixes depending on proximity to the performer. 

Opensound, John Cage, Var III, 100 Players, 1st 15min

Fortune, for quintet

Amplified bowed and caressed Styrofoam, cardboard, rubber, and metal. A discovered  form approach to free improvisation. From Jan. 15 2016 at Third Life Studio, Somerville, MA. 

1.15.16 Styrofoam-O-Phone

Cut (Feat. K Kirchoff) (2013)
For a quadraphonic sound system

I wrote twelve short segments of music for toy pianist Keith Kirchoff to record for this project. These segments included various approaches to structured improvisation: pitches in boxes, graphic scores, proportional rhythms, etc.  I used these recordings as source material to assemble and compose “Cut (Feet. K Kirchoff)” using musique concrete techniques. 

The process of cutting destabilizes continuity, while its prevalence creates a field of mistakes, and from this, form.   


Cut (feat. KK)

Sixteen Cross Sections of Three Themes

This composition presents sixteen cross sections of three themes. The cross sections vary in length from 20 seconds to about 90 seconds. Each cross section is separated by silence varying in length from two to  eight seconds. Some cross sections present a portion of a single theme, while others present the intersection of portions of two or three themes.     

This composition is written for and dedicated to Marianne Gythfeldt


16 Cross-sections of 3 Themes

Flunk is Flandrew Fleisenberg (perc.) and Lou Bunk  (scratch-o-lin/viola). This is a short clip of a piece we had the audience sing along with us!

Flunk at Great Scott

A little something i recorded in prep for an upcoming Collide-O-Scope Music concert.

http://www.collidemus.com/

Viola improv 11 15 12

This study explores the sonic and expressive potential of bowed cardboard.

Study for Bowed Cardboard

This composition presents twenty cross sections of three themes. The cross sections vary in length from five seconds to two minutes. Each cross section is separated by silence varying in length from two to ten seconds. Some cross sections present a portion of a single theme, while others present the intersection of portions of two or three themes.   

Perusal score avaialble at http://www.loubunk.com/music.html   