Name: Monday the 2nd of May by Matej Sloboda
Duration: 12 min 3 s
Description: A small guitar loop inspired by La Monte Youngs chord used in Well-Tuned Piano 21:49:63:147 with added 168:189 (8:9).

Santa BUŠS : 'a chantar... (lacuna)' (2021)
for ensemble 
EnsembleSpectrum, conductor Matej Sloboda 
(studio recording : Clarissine Concert Hall, Bratislava, Slovakia)

The piece ‘a chantar... (lacuna)’ is inspired by trobairitz, the Occitan female troubador traditions, and their poetry that seems quite progressive for the times of both then and now, although touching upon the age-old problems and situations of women throughout history. 
Troubadours often wrote from the woman’s viewpoint, yet the works of the trobairitz often brought a much more personal view of themselves into their lyrics, beautifully using word painting to depict the meaning of poetry. They were not afraid to engage in harsh political discussions or speak of sexual exploits, even if at the time they might be considered forbidden.
There are not many works survived by these women and the only trobairitz song for which music has been preserved is canso 'A chantar m’er de so qu’eu no volria' by Comtessa de Dia, and this exceptional gem serves as one of the starting points for the piece written for EnsembleSpectrum. 
The notation that the troubadours used may have conveyed a wealth of information to the musicians who were familiar with its vocabulary, but modern eyes cannot determine those details... And exactly in this unknown territory and lack of certainty, or gaps of information, caused by time and distance, is where this composition comes to life... And that's also where something I refer to as 'lacuna technique' is essential part of decoding and interpreting the material... 
Lacuna... a gap in a manuscript, inscription, text, painting, or a musical work... or a lexical gap in a language... or an extended silence... or the lack of a law or legal source addressing a situation... or an intention to encourage someone to create their own stories... lacuna... words, sentences, or whole passages that are missing or illegible... caused by weathering, decay, and other damage to old manuscripts or inscriptions..

Santa BUŠS 'a chantar… (lacuna)'

A small guitar loop inspired by La Monte Youngs chord used in Well-Tuned Piano 21:49:63:147 with added 168:189 (8:9).

Monday the 2nd of May

SEXQUARTETT

In a cross-tuning of 84-tone equal temperament and 13-limit just intonation.

Amélie Berson, flute
Phoebe Bognár, bass flute
Mireia Pellisa Martín, alto saxophone
Thierry Madiot, bass trombone
Carlo Sampaolesi, accordion
Félix Lacquement, electric guitar
Paola Aviles, harp
María Alejandra Jiménez, violin
Adèle Viret, cello

Commissioned by GMEA – Centre National de Création Musicale d’Albi-Tarn. Recorded live at the Athanor in Albi, France on August 6, 2022  by Benjamin Maumus – GMEA's sound engineer.

Commande du GMEA – Centre National de Création Musicale d’Albi-Tarn. Enregistrement à l’Athanor à Albi le 6 août 2022 et mixage par Benjamin Maumus – ingénieur du son du GMEA.

Nocturne (2022) for harp, electric guitar and ensemble

Listening is always contextual and an action. It is no question that the fashion it is done by, depends on the physical and mental state, knowledge, cultural background, and experience of the listener.

But does the sensual event of listening become different when the listener is aware of the process that resulted in the act they observe? Is there a contrast in how they listen to improvisation, jazz, or a composed piece? Or does the act of listening change if the shaping of sound is the product of a series of decisions by the composer. What happens when incidence also gets a role? Is it determinative if the listener is  aware of the primary source of the sound, whether it is an instrument, a prepared instrument, ready made, or algorithmical? Is the composer obligated to share this knowledge, or is it enough to leave a sign? The deconstruction of musical traditions, the exposition of materiality of the music and the endless possibilities for manipulation that technology has provided all propose new challenges for the listener, the creator and the interaction between them. The listener eventually always holds the power to (re)construct the listening experience.

Created for The Listening Biennale, an international exhibition initiated by Brandon Labelle.
https://listeningbiennial.net/participants#KAINCZ

Disordered

"Subsong" ist ein ornithologischer Fachterminus, und bezeichnet eine Art des Vogelgesangs, der noch nicht strukturiert ist und nicht im Zusammenhang mit gattungsspezifischen Territorialgesängen o. ä. steht. Er ist also zweckfrei und dient nur der Erprobung des Vokabulars; vielleicht könnte man den Subsong auch als eine Art existentielle Selbstvergewisserung beschreiben. 
Daraus habe ich für mich eine Form abgeleitet, die nur aus einer Abfolge von möglichen, zum Teil ziemlich komplexen, stets sehr präsenten und dynamischen, und jeweils durch ein sich selbst nachhorchendes Innehalten voneinander getrennten Erscheinungen/Wucherungen/Färbungen etc. eines einfachen Ausgangsmaterials besteht; wie eine Landschaft mit Brücken, die ins Leere gebaut wurden; mit Wegen, die nirgendwo hinführen. Es gibt also weder eine lineare Entwicklung, noch reine Statik, nur Ansatz und Abbruch. Aber gerade durch diese Offenheit können sich die vielen Ansätze dennoch virtuell zu einer imaginären Form verbinden.

Ensemble Phoenix Basel - Dir.: Jürg Henneberger

SUBSONG 1 (2015) für Flöte, Oboe, Klarinette, Klavier, Violine, Viola und Violoncello

1st Episode of Behind the scenes with British conductor Leo McFall.

British conductor Leo McFall talks about leadership, time management, musical energy, on challenges on and off stage and the life of a conductor in general.

www.behindthescenes.eu
https://www.facebook.com/behind.the.scenes.by.dominika/

Playlist:
00:00 jingle for BTS by Matej Sloboda
00:27 intro
01:57 Eugen Cicero. Slawischer Tanz. (A. Dvořák)
04:58 Leo McFall - backgrouond and professional path
10:20 A. Dvořák. Symphony nr.9/3mvmt. conductor: Ivan Fischer
17:36 Leo McFall - how to prepare a musical piece, studying process
20:41 E. Elgar. Enigma variations. Theme and 1st variation
24:05 Leo McFall - how to progress, musical energy, rehearsal and concert: challenges and difference of working energy, time management, choice of repertory
29:30 M.Krajči. Tíšiny vzkriesenia. violin: Milan Paľa
36:10 Leo McFall - relation to contemporary art, its features, qualities
41:05 A. Berg. Lulu´s song. voice: A. Prohaska
43:35 Leo McFall - differences and challenges of conducting opera and symphonic, relax and recharge, life and time organization of freelancing conductor
53:08 Stroon. You promised the Swelter would Yield. www.stroonmusic.net

Behind the scenes ep. 1

Courante for violin solo (2003, rev. 2016); Ivana Pristasova, violin

Courante

Composer / Conductor / Improviser from Slovakia interested in experimental arts.

Monday the 2nd of May

Matej Sloboda

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Peter Machajdik

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