Instrumentation:

3 Flutes, Eb Clarinet, 2 Bb Clarinets, 3 Oboes, 2 doubling Cor Anglais, 2 Trumpets in Bb, Tenor Trombone, Bass Trombone, Piano, Harp, Percussion (1 player)* STRINGS: 7, 5, 5, 6, 2. 

41 players spatially organised as:

Group 1: Clarinet in Eb, Flute 3, Violin, Violoncello, Guitar, Piano and Percussion 
Group 2: Oboe 1, Clarinet 1, Clarinet 2, Violin solo, String Quartet

Group 3: 4 Violin 1, 4 Violin 2, 4 Viola, 4 Violoncello and 2 Double Basses

Group 4: Flute 1, Flute 2  

Group 5: Two Trumpets in Bb, Tenor Trombone, Bass Trombone

Group 6: Oboe 2 doubling Cor Anglais, Oboe 3, Harp

Duration 20’36”

Performers include:
Group 1: Gleb Kanasevich (clarinet in Eb)Christian Smith (percussion) Lisa Cella (flute), Tristan McKay (piano) Jeremy Bass (guitar), Mark Fewer (violin) and James Burch (cello); Group 2 and 6: Zero Theorem string quartet, Players from the Bristol Ensemble including Roger Heaton (clarinets) and Chris Redgate (oboe/cor)Group 3: the Karski Quartet and Viridis Quartets, Group 4: (additional flutes) from Chamber Cartel, Group 5: Meridian Brass, Dirk Amrein (trombones). 

Performance instructions:  
1) This piece is unconducted. 
2) There is no score. All notated material is within each performer’s part. 
3) It is anticipated that the orchestra will be positioned in a conventional manner, but the nature of the music and performance also lends itself to new spatial configurations, should these be appropriate.  
4) All instrumentalists play independently of each other. The composer treats each performer as a uniquely independent voice.  
5) Music is cued only at the start when all stopwatches are synchronised. There are no other points of ‘fixed’ synchronisation between the instrumentalists.  
6) Whilst the relationship of each instrument is somewhat flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and variability. To this end, it is vital that metronome markings and timecode are adhered to as accurately as possible throughout the performance.    

The Score and Parts: There is no score for this orchestral work. All musical material and instruction are fully notated within each player’s individual parts. Adherence to timecode ensures that the architecture of the piece remains intact, but the on-going interpretation of tempi and timecode creates contextual changes to the alignment of musical detail between all the parts. As such, there is no definitive performance; the music has to be performed or experienced to be ‘known’. 
 
Timecode: Timecode is not used to imply the use of any kind of click-track in performance or to be seen as a straitjacket to flexible performance within the orchestra and timecode framework. However, players are required to use individual mobile phone stopwatches during the performance to help structure timings, prevent long-term tempo-drift and delivery of their material to achieve an outcome that most closely matches the composer's structural intention. Continual reference to the timecode embedded in each part when read in reference to the stopwatch is particularly useful after longer pauses or where tempo has slipped due to playing under or over the metronome markings, enabling the performer to compensate by playing a little faster or slower to 'catch up' or extend or cut short pauses and rests as necessary to remain broadly on track with the timecode throughout the piece. It is important to start and also complete phrases within and as close to timecode parameters as possible. Please adjust your playing speeds continually to align with the timecode.

[...] which constantly generates a pulviscular cloud [...]

Marc Yeats is an internationally renowned composer and visual artist whose compositions have been performed by the most noted of orchestras and ensembles across the globe. These include UK companies such as The London Sinfonietta and The Scottish Chamber Orchestra, the BBC Philharmonic and the Halle Orchestra and Chorus. Further afield, Marc’s work has also been performed by the Tokyo City Philharmonic, the Atlanta based, Chamber Cartel, and many others. His compositions have gained great acclaim through many radio broadcasts for the BBC and also been broadcast in many other countries including the US, Germany and New Zealand.

Marc’s relationship with the BBC is both strong and enduring, starting with a BBC Scotland performance by the Edinburgh String Quartet more than 20 years ago. His first orchestral work – I See Blue – conducted by Martyn Brabbins, received much acclaim when first performed around the same time. This led to specific BBC commissions, including a piano concerto to open Piano 2000 in Manchester, with Kathryn Stott as soloist, and a solo harpsichord piece ‘Rhema’, performed by Mahan Esfahani and broadcast in 2010 by BBC Radio 3 from the Clothworkers’ Centenary Concert Hall in Leeds.

Selection as one of just 10 to attend the legendary Hoy Summer School in 1994 brought Marc into contact with the late Sir Peter Maxwell Davies. At the completion of the course, Max was keen to support and promote Marc’s work, and conducted his first commission with the Scottish Chamber Orchestra at the St. Magnus Festival in 1997. He and Marc continued to share ideas, and Max took a great interest in Marc’s visual art and compositional work with mobile technologies and a range of asynchronous structural approaches to composition.

Marc is excited to have recently been appointed composer-in-residence to Yeovil District and Dorchester County Hospitals, a position he has also held with other UK and US organisations. Work such as My Blood Is As Red As Yours’ (an orchestral and choral piece commissioned by the Halle to celebrate World Aids Day in 2008 and performed at the Bridgewater Hall) and recent work, such as ‘shapeshifter’ and ‘the observation quartets’ continues to enhance his reputation as a leading contemporary composer.

Musique contemporaine - contemporary music - Neue Musik

new album "Delicious" released on 16 May. New Amsterdam records.

Alex (1990),"A riotous overabundance of love and rage..an extraordinary experience” The Wire Magazine, is an award-winning composer & improvising-trombonist based in the UK. His Music is published by Ricordi (Berlin). "highly innovative...of exceptional creative imagination and musical energy, packed with life force unlike anything else” BBC Magazine Ivor Novello British Composer Awards.

Alex has been awarded the Paul Hindemith Prize, and Ivor Novello Composer He was nominated for the Gaudeamus Award for 2022 and was elected to the 9th International Composition Seminar and awarded a commission ILOLLI-POP for Improviser and Ensemble which he played with Ensemble Modern. He has been awarded by the London Sinfonietta’s Writing the Future commission CANDYFOLK- SPACE-DRUM  and has won the RPS Royal Philharmonic Society Composition Prize, DANKWORTH JAZZ prize for composition BYE and was made a London Symphony Orchestra Panufnik Composer. Alex played and recorded his concerto OD ODY PINk’d for Jazz Musician and Royal National Scottish Orchestra (RSNO). He was a Leverhume Art Scholar with the London Philharmonic Orchestra 2016-2017: NOW WE ARE DUH-DUR and has been awarded the Harriet Cohen Memorial Music Award for his compositions. His piece SPAKE represented the UK in the Orchestral section of the International Society of Contemporary Music (ISCM). He is a commissioned contributor to John Zorn’s Arcana X 2021. "Paxton is a system-crasher of genre, who merges jamming video game soundtracks, musical overtures, virtuoso chamber music and jazz improv into an unmistakable style...highly complex, sophisticated and extremely entertaining, virtuoso ad absurdum" Neue Zeitschrift fur Musik

His albums to date as a composer: MUSIC for BOSCH PEOPLE and iLOLLI-POP released to critical acclaim on Birmingham Record Company/ NMC label and nonclassical. Listen Pony Label (TELLSONG), Indigne de nous on Everest Records and leading Spotify playlists. HAPPY MUSIC for ORCHESTRA released on Delphian Label in  April 2023. “This is the most joyous sound I’ve heard in ages!”New York Times

His music has been played/recorded/ commissioned by leading orchestras and ensembles including Ensemble Modern, London Sinfonietta, London Symphony Orchestra (LSO), London Philharmonic Orchestra (LPO), Philharmonia Orchestra, AskSchöenberg, Riot Ensemble, Nouvel Ensemble Contemporain, Wigmore hall, Explore Ensemble, Klammer Klang, Royal Scottish National Orchestra (RSNO), National Youth Orchestra (BBC proms 2021), Making Music (UK), Ensemble x.y, x.y Song, Hyper Duo, Bournemouth Symphony Orchestra (BSO), National Youth Jazz Orchestra (UK) NYJO, Listen-Pony, Aldeburgh Festival, Psappha Ensemble, Orion Symphony Orchestra OSO, Helios Collective, Chaos Collective Orchestra, Mirrors of Hall Big Band, Dr. K Sextet, 5KBrass Quintet, RAM Philharmonic and RCM Philharmonic and soloists Zubin Kanger, Tabea Debus, Beibei Wang, Patrick Terry, David Zucchi. “This is what an orchestra can be like in the 21st century: an ensemble that speaks with one voice yet also gives voice to each of its members” The Times

He has written six operas including NOGGIN and the WHALE (Massed forces including 500 young instrumentalists and singes) FOR the LOVE of THORNSTIEN SHIVER hosted by English National Opera and Helios Collective, BEL and the DRAGON as part of the Tête à Tête opera festival, the EQUIVOCAL HARRIET BOWDLER at Second Movement Opera and WOOLF MUSIC at the Forge in Camden and RAVEN’s CHILD for Jacob Colier and Orchestra.
“Operatic Game Boy music played by a virtuosic motley crew that’s inexplicably been hired to provide live jingles for a primetime TV show sometime in the recent past that never quite was” Point of departure

As an improvising and jazz trombonist Alex has played as a soloist with Ensemble Modern, London Sinfonietta,  Riot Ensemble, Philharmonia Orchestra, Royal Scottish National Orchestra (RSNO), & ensemble x.y. He is founder of Dreammusics ensemble and performs regularly with pioneering improvisers (eg: Charlotte Keeffe, Steve Noble). “meticulously scored…seems to change with every bar, enfolding bite-size pieces of classic minimalism, brass brand tradition, electronic noise, & video game plasticity..intensely virtuosic and giddily joyful. electronically slathered trombone…Paxton is a monster improviser …connects his garrulous attack to the most extroverted playing of George Lewis & Roswell Rudd..." Bandcamp Daily Best Contemporary Classical.

Extensively, Alex writes art-music for musicians in community settings including, innovative ways of writing for young instrumentalists & singers in a post-Roald Dahl world of new-music.  eg: NOGGIN and the WHALE (Massed forces including 500 young instrumentalists and singes), Fly Like a Kitchen, Muffin, Pudding Tummy and The Sound of Magic. He is professorial composition staff at Trinity Laban Conservatoire and has worked as lead-composition tutor (and workshop leader) on the National Youth Orchestra GB, he has taught/ lectured at composition and improvisation at conservatories including, RAM, GSMD & RCM (and multiple universities in the UK). “one of the most exceptional voices from a new generation of UK talent” The Philharmonia Orchestra

Alex studied as a scholar at Royal Academy of Music (BMushons1stclass)and LRAM (Distinction) and the Royal College of Music (MComp Distinction).“a Brit who defies every conceivable genre boundary…an extremely modern and future-oriented style.” Paul Hindemith Prize winner 2023

Alex is an endorsee solo artist with Micheal Rath Trombones since 2023 (R12 nickel bell & tuning slide).

A composer of modern music and piano pedagogue with compositional emphasis on serial and twelve tone techniques and pedagogical literature based on the Renaissance thru 20th century genres.

Earlier studies include industrial electricity, applied voice, drama and music theater, ballet and modern dance.

Starosta's compositions have been shaped and influenced by blues, heavy metal, and classical music along with the sounds of industrial cacophony and nature.

Spence is a songwriter based in Oslo and UK. 

He has been active in the music business for over a decade and has secured publishing deals, as well as having his tracks licensed for use in promotional and advertising campaigns worldwide.

I'll follow you back when SC lifts the follower limit (!)
Loving listening to everyone's music on here :-))))))))))

a highschool student from Greece that is self taught in music, I mostly make hybrid and electronic music like edm and chiptune

https://www.youtube.com/user/DRORELIMELECH120V

https://www.facebook.com/dror.elimelech.338/


ACOUSTIC AND   ELECTRO-ACOUSTIC  COMPOSER .
STUDIED  COMPOSITION WITH  SERGIU  NATRA .
ELECTRONIC AND  ELECTROACOUSTIC  MUSIC  WITH YIZHAK  SADAI .
PIANO  --  WITH  PNINA  SALZMAN  , BART  BERMAN  , AVI  SCHONFELD .
CONTEMPORARY CLASSIC  COMPOSER , ACOUSTIC ,
ELECTRONIC AND  ELECTROACOUSTIC   MUSIC , 
EXPERIMENTAL  MUSIC . SOUND  ARTIST .
IMPROVISATION AND INTUITIVE MUSIC .
PIANIST .
ACCORDION AND  RECORDER  PLAYER .
FOUNDED  AND  CURATED    2  SERIES  OF  CONTEMPORARY  CLASSIC  MUSIC   IN TEL AVIV  ,  ISRAEL  -- 
 " NIGHT  HAPPENING -  FORUM FOR EXPERIMENTAL MUSIC "    1986  -  2007
" OTHER  ISRAELI  MUSIC "      1985   -  1987
MANY COLLABORATIONS  WITH  POETS , ACTORS , DANCERS ,  PAINTERS ,
 VIDEO ARTISTS , PERFORMANCE  ARTISTS .
MORE THAN  120  PREMIERS  OF  NEW  CONTEMPORARY  CLASSIC MUSIC - 
ACOUSTIC , ELECTROACOUSTIC , MULTI-MEDIA  --  WERE  PRESENTED
IN  HIS  SERIES DURING  23  YEARS OF ACTIVITY .
HIS  MUSIC WAS  PERFORMED  IN  EUROPE , CANADA , USA .
WON  VARIOUS GRANTS AND PRIZES .