So bummed I missed it live - and so happy the recording exists!

Temporary stuff

Sounds from the cinematic universe of Atom Egoyan, the Canadian director who emerged in the 1980s as a part of the loosely categorised "Toronto New Wave". 

Selected by Florence Scott-Anderton.

https://www.nts.live/shows/sounds-on-screen/episodes/sounds-on-screen-atom-egoyan-4th-july-2023

Sounds on Screen: Atom Egoyan 020723

Bombs Of Beirut | Kronos Quartet (live at The Greene Space)

The Heaviness of Air

High-quality downloads and CD of the studio recording is available at
https://dalniente.bandcamp.com/album/object-animal

SWAN (2016-17)

a - Korridor/Karaoke Mahshar - 00’00’’-19’42’’

b - Rod Modell - 19’43’’-28’49’’

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Recording of the premiere performance at the Constellation Chicago, 02/19/2017.

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Murat Çolak - Score & Electronics

Ensemble Dal Niente - Amplified Instruments:
Michael Lewanski - Conductor
Emma Hospelhorn - Flute, cymbals
Anna Velzo - Oboe
Katie Schoepflin - Clarinets
Gregory Beyer - Percussion
Mabel Kwan - Piano, bass synthesizer, percussion
Tara Lynn Ramsey - Violin
Chris Wild - Cello

Dan Tramte - Video (Excerpts: www.youtube.com/watch?v=eO5EQIlIf24 - www.youtube.com/watch?v=qG70iw4TSFU )
Nolan Chin - Live Sound
David Zuchowski - Recording

Live recording mixed & mastered by Murat Çolak

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Video of the premiere performance: https://www.youtube.com/watch?v=RwNBIJ2KKLE&feature=share

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Interview with Emma Hospelhorn: http://www.dalniente.com/news/2017/3/26/interview-murat-olaks-swan

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Thanks: Ben Melsky, Grace Heatherington Tilka, Constellation Chicago, Frequency Series.

—

SWAN is commissioned by NewMusicUSA

SWAN

For the version of this piece for soprano, electric guitar, and electronics performed by Hasco Duo, please listen here: https://open.spotify.com/track/1pIbv36vViE73AODhL5MxW

Para la versión de soprano, guitarra eléctrica y electrónica interpretada por Hasco Duo, seguir este enlace: https://open.spotify.com/track/1pIbv36vViE73AODhL5MxW

Program note/Nota al programa (abajo)

Y bien canta, 
bien habla,
bien conversa,
bien responde,
bien ruega;
la palabra no es 
algo que se compre. 

Huehuetlahtolli (de “Palabras de 
exhortación con que una madre así 
habla, así instruye a su hija”)

Ancient voices—silenced and lost to perpetuity, they attempt to speak to their mestizo offspring which is at once theirs and other's, being and not-being, center and margin, both and neither. 

When I read the words Tinta Roja, Tinta Negra, I immediately relate them to the rhetorical figure that the ancient Aztecs are thought to had used to refer to their codexes, and therefore, to wisdom. Red Ink, Black Ink, the same words but in another language, resonate in my head as rhetorical figures for loss and profit within a capitalist economic context. 

Even if these voices succeeded in formulating a word, we would never know exactly what they meant, what those words meant to them, from which dismissed epistemologies they come from, what their real message was. The only thing we can do is resonate with them, beautifully or horribly, and listen.
--
Voces ancestrales, silenciadas y perdidas para siempre, intentan comunicarse con su descendencia mestiza. Descendencia suya y "otra", centro y margen, ambas y ninguna.

Cuando leo las palabras "Tinta Roja, Tinta Negra", se me viene a la mente la figura retórica que se cree que los antiguos Mexicas usaban para referirse a sus códices—y por ende, a la sabiduría. De otra manera, las palabras "Red Ink, Black Ink"—las mismas palabras, únicamente en otra lengua—resuenan en mi cabeza como símbolos de ganancia y pérdida dentro de un contexto económica capitalista.

Incluso si estas voces lograran formular una palabra, nunca podríamos saber exactamente qué es a lo que hacen referencia, lo que significan para ellas esas palabras, de qué epistemologías perdidas provienen, cuál es el mensaje que intentan comunicar. A mi parecer, lo único que podemos hacer es resonar con ellas, de manera agradable o desagradable, y escuchar.
--
Performed by and dedicated to Quince Contemporary Vocal Ensemble*
(recording of the world premiere at Constellation, Chicago, February 2017)

Special thanks to:
-Pablo Abelardo Mariña** who coded the Max MSP patch used for matching the electronics with the timer. 
-Gabrielle Barkidjija who helped me recording some of the sounds with which I composed the electronic part***

*http://www.quince-ensemble.com/
**Pablo is an amazing Max MSP coder and is a great person to work with. His email: bigbirdamarillo@me.com
*** Gabrielle Barkidjija's Facebook page: https://www.facebook.com/Gabrielle-Barkidjija-mezzo-soprano-692339074260571/?fref=ts

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