Flûtes  -  Lisa Meignin
Piano  -  Nina Maghsoodloo
Finbar Hosie  -  Electronics, recording and mixing

Finbar Hosie - Deltas, in memory of Robert Johnson (2022)

outpouring beneath my skin [2024] for mixed quartet, prepared snare drum, accessory instruments, and playback.

• Written for and premiered by @lvmsc-lovemusic (collective lovemusic):

- Niamh Dell, oboe and accessory instruments/objects
- Adam Starkie, prepared contrabass clarinet and accessory instruments/objects
- Emily Yabe, prepared violin and prepared snare drum
- Léa Legros Pontal, prepared viola and prepared snare drum

Electronics performed by the composer.

• Recording of the premiere @ Haute école des arts du Rhin (HEAR), 24 May 2024, Strasbourg, France.

Special thanks to Iván Solano, Tom Mays, Guilherme Ribeiro, Fernando Strasnoy, and Lorenzo Paniconi. 

*good quality headphones or loudspeakers are recommended*

• Program Notes:

"There are moments when the body is as numinous
as words, days that are the good flesh continuing"
(Robert Hass, Meditation at Lagunitas)

Here, the essence of an unbridled force, a torrential overflow, finds itself cradled within the fragility of the ephemeral. The boundaries between the tangible and the transcendent, as the intricate network of pulses within. Or the interwoven tapestry of existence, where strength and vulnerability coalesce. Each sound, stretched string, broken voice, boundless burst of air. 
These other veins coursing with the lifeblood of the ensemble. Instruments become vessels (of exploration), conduits of the unexpected. Within their resonant chambers lie worlds concealed (and waiting).

"Implied inner palpability as transpersonal dictation
all works composed as a musical ark
as if rowing in an isthmus of lightning"
(Will Alexander, Inner Palpability)

outpouring beneath my skin [2024]

From "I Was Wearing My Skin Unfresh" (2024)

Composition / Finbar Hosie
Performance / flute B foot / Emiliano Gavito
Love letter / John Cage

[Undated, postmarked July 2, 1943]
550 Hudson St., New York

Love, Icebox: Letters from John Cage to Merce Cunningham (Dap Art Book, 2014), with the kind permission of Laura Kuhn & The John Cage Trust.

Collective lovemusic production.

Close  (I Was Wearing My Skin Unfresh) - Emiliano Gavito

Rosie Middleton - voice 
Emiliano Gavito - bass flute
Adam Starkie - bass clarinet 
Sophie Wahlmüller - viola 
Christian Lozano Sedano - e-guitar 
Finbar Hosie - electronics

And the colour of where you can never go was commissioned by Donaueschingen Musiktage for lovemusic

And the colour of where you can never go - Laura Bowler + lovemusic

From "I Was Wearing My Skin Unfresh" (2024)

Composition / Finbar Hosie
Performance / flute / Emiliano Gavito

"To Die" /written & read by Diane Williams
The Collected Stories of Diane Williams (Soho Press, 2018)
With the kind permission of Diane Williams.

Collective lovemusic production.

To Die  (I Was Wearing My Skin Unfresh) - Emiliano Gavito

From "I Was Wearing My Skin Unfresh" (2024)

Composition / Finbar Hosie
Performance / piccolo / Emiliano Gavito

Collective lovemusic production.

The Future of the Illusion (I Was Wearing My Skin Unfresh) - Emiliano Gavito

Recorded live at Musiques Démesurées, Clermont-Ferrand, May 2025

Luxa M. Schüttler

Grace Durham l voice
Emiliano Gavito l flute
Adam Starkie l clarinet
Sophie Wahlmüller l viola
Céline Papion l cello
Nina Maghsoodloo l keyboard, sampler
Finbar Hosie l electronics, recording

[live recording]

Ich bin dein boy - Luxa M. Schüttler + collective lovemusic

Recorded live at Musiques Démesurées, Clermont-Ferrand, May 2025

Bára Gísladóttir

Emiliano Gavito l bass flute
Finbar Hosie l electronics, recording

[live recording]

GROWL POWER - Bára Gísladóttir + collective lovemusic

Mm..food (2025)
Audio cut of performance, Duo Klexs live at Cabaret Voltaire, Zurich

Léa Legros Pontal l Viola, tableware
Silke Strahl l Baritone saxophone, slide-whistle, tableware

Mm..food

Hashtag Ensemble:

Ania Karpowicz: fl
Agnieszka Guz: vn
Aleksandra Demowska-Madejska: vla 
Dominik Płociński: vc
Lilianna Krych: cond

26.05.17 Warszawa

|utwór zdobył nagrodę główną na 58. Konkursie im. Tadeusza Bairda|

…über BWV 971

Of definitions of “ground” was composed in reaction to the sound of the electrical utility frequency or ‘mains hum’, which can sometimes be heard through loudspeakers and amplifiers. It is generally considered an ‘unwanted’ noise, often caused by interconnection of electrical equipment that results in there being multiple paths to the ground, also known as a “ground loop”. Many of my concert experiences, as a composer or listener, have been coloured by trying to eliminate or ignore this sound. And so, I wanted to create a work where this sound is instead the focus. The harmony of the work is built around this hum and its harmonic series, and much of the instrumental writing attempts to simulate related electroacoustic phenomena, such as harmonic distortion and feedback. 

Because the electrical utility frequency is different in different countries (for example, in North America it is 60 Hz and in Europe it is 50 Hz), there are two different versions of the score, depending on where the piece is performed. In reflecting on the way this sound connects us to place, the work subtly incorporates field recordings which also differ between the two versions, linking to the sites of the premiere performances in Québec and Belgium. The piece is then a meditation on the way sound can “ground” us or connect us to a feeling of familiar ground.  

Of definitions of “ground” was commissioned by Le Vivier for Ensemble Hopper with support from the Canada Council for the Arts.

Recording: 10 May 2019, Église Sacré-Coeur, Chicoutimi. Recording engineer: Pascal Beaulieu

And the colour of where you can never go - Laura Bowler + lovemusic

collective lovemusic

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