Binaural recording - listen with headphones!
Part of the work-in-progress H.E.A.D.

Generative soundscape based on a two-dimensional random walk between four binaural soundscapes, recorded in spring 2021 at various creeks in Lower Austria and processed with MaxMSP:

1) Krumpenwasser ("Gießgang") inside the Stockerauer Au
2) an artificial creek ("Fischwanderhilfe") at the Danube power plant Greifenstein
3) the river Schwechat which flows through Helenental close to the monastery of Heiligenkreuz
4) the Mauerbach near the Carthusian monastery of the same name

H.E.A.D.

B.A.C.H.

Info

B.A.C.H. (Beloved Aquatic Counterpoint Hearing) - BINAURAL

Michael Rectenwald's, What Is The Great Reset, a series in five-parts, is discussed, as well as books by World Economic Forum Founder and Executive Chairman, Klaus Schwab, including "The Fourth Industrial Revolution" and "Covid-19: The Great Reset"; technological changes that will bring about the Great Reset; a grand centralization scheme; a two-tiered system of production; a new normal; neofeudalism; reduced income and carbon use; austerity; transformation of the monetary system via centralized digital currency; 5G-enabled smart city surveillance; social credit scoring system via vaccine passports; political imprisonment; fusion of transhumanist technology with biology – genomics, nanotechnology and robotics; predictive algorithms; climate change and covid crisis pretexts for enacting the Great Reset; military transformation as the mind itself becomes a battlescape; transformation of governance by state/corporate convergence; new ESG stock market index, the Environmental, Social and Governance Index, a scoring system driving investments to approved corporate players; abridgement of individual rights across the board including ownership and the free enterprise system itself; wokeness ideology, the reset of the mass mind, recasts rights as privileges; wrong-think at universities; oligarchic control by a shadowy group.

Aired: May 12, 2021

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Guns and Butter 434

Corporate Socialism:  The Great Reset - Dr. Michael Rectenwald, #434

¿Qué se llama cuanto heriza nos?
What Do You Call Everything That Bristles Us?
for flute + alto flute, clarinet + bass clarinet, oboe, horn, piano, percussion, violin, viola, cello, and double bass. (2001)
The title is a line of the poem Trilce II by César Vallejo.
Premiere Recording.

Qué Se Llama Cuanto Heriza Nos (2001)

Leo Genovese - Piano
Demian Cabaud - Bass
Jeff Williams - Drums
Nadia Larcher - Voice

Artist Title: Leo Genovese
Album Title:  Ritual
Label: 577 Records
File Under: Contemporary Jazz / Modern Jazz / Avantgarde 
Release Date:  3/4/2022
Cat#: 5905
Format: CD/DL
Barcode: 755491220771
CD-577R-5905

ABOUT THE ALBUM
For multi-instrumentalist Leo Genovese, all of life represents a ceremony. In this project, he poses a particular assembly of rituals to honor that celebratory feeling: offerings, dances, chants and acts, inspired by cultures and tribes from around the world. Leo Genovese is joined by his longtime collaborator Demian Cabaud (Bass) and legendary drummer Jeff Williams, to form a trio—and on four tracks, by Catamarca's singer Nadia Larcher. Larcher’s voice is particularly affecting, soaring over the rhythmic beats and experimental jazz from the trio, to build rich, layered sounds. Ritual presents an album of celebration, convening in a post-pandemic world to again play music together. This marks Leo Genovese’s second album on 577 Records following Ritmos De Agua (2021). It will be available digitally and as a CD on March 4, 2022.

Recorded July 29, 2019 by Nuno Couto at Studio Cara OJM, Porto, Portugal
Mixed and mastered by Jeremy Loucas, Sear Sound, New York City

Photography by Reuben Radding
Graphic design by Colo Sastre

All music written by Leo Genovese

577 Records is an independent record label 
based in Brooklyn, New York 
operating since 2001

577 Records
Brooklyn, New York
www.577records.com
©+℗ 2022

Ritual

Leo Genovese: 'De Tanto Llorar' from album Ritual (577 Records)

"Capriccio"

(Eva García Fernández -2020-)

para violín

Violín: David Núñez

Estreno concierto - Urondo contemporáneo IV - Centro Cultural Paco Urondo (Agosto 2022)

Esta micropieza fue compuesta especialmente para David Núñez y forma parte de un conjunto de más de cincuenta micropiezas que el violinista ha encargado a diversos compositores y compositoras, logrando una especie de foto sonora de la época.

Capriccio

Capriccio - para violín (2020)

Ain’t no telling (Mississippi John Hurt)

Tupelo –John Lee Hooker

A small fragment of a rehearsal of Kampela's Motets during ou residency at Schloss Solitude, Stuttgart

Arthur Kampela - Motets (fragment of rehearsal)by Oh Mensch

Poema sobre a sobrevivência do morto como algo que se deteriora enquanto coisa concreta; que de certa maneira, 'sobrevive' ainda entre nós, pessoas da rotina, e da hora; o Morto obedece à secreta ordem das coisas putrefeitas. E seu trabalho é o lento trabalho da dissolução, da erosão, e mesmo de adubo, que afeta a realidade e por ela é afetado. Escutem. Foi uma maneira que encontrei de prolongar e ainda tornar pertinaz a ausência de meu amado irmão Salo nesta Realidade que atravessamos - e nos trespassa.

Sobre - Vivente (ao meu irmãozinho Salo)

Polifonía Concreta(2005) (2009) (2013)
One day in the year 2005?  the Argentinean flutist Mariana Stratta came to NYC to work on my flute pieces for her doctoral dissertation. The second day she bought a bass flute  and brought it to our meeting. That night she left and asked me to leave the flute in my apt. I told her that because I have never touch a bass flute probably I will feel like playing it. Next morning it was raining and I felt like playing the bass flute. Because of the sound of the rain I decided to put the recorder in the bathroom  and later in the day I went to the bathroom and made this recording plus another section of a different nature. Few years after when I was living in Berlin I listened to this recording and decided to transcribe it and sent the score to Mariana.
Polifonía concreta was premiered by Mariana Stratta at the 39th Annual National Flute Association Convention in 2011. Her effort in learning the piece by reading the score and listening to the original recording presented here inspired me to write a new -more detailed-version in 2013.  That new score of Polifonía concreta is dedicated to Mariana Stratta.


Polifonia Concreta

Fuyante (1996)
For Percussion Quartet and Electroacoustic Tape.
Timeworks Quartet.
Live recording.

Fuyante (1996)

New York-based Argentinean composer Marcelo Toledo has developed though the years a personal music style particularly oriented toward the exploration of instrumental timbre, an aspect of his work that has become a characteristic facet of his compositions. In his work he has eliminated the traditional importance given to pitch in order to focus on a new aural matter. This is the product of a research created through his essential engagement to explore -with his personal techniques- the instruments of the orchestra. Toledo’s music evolves almost biologically in an intricate sound texture made out of complex fluid sounds.

Qué Se Llama Cuanto Heriza Nos (2001)

Marcelo Toledo

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