Eilish Wilson - alto sax
Naz Alek - tenor sax
Hugo Tanov - trumpet
Levy Barlevy - trombone
Mason Moy - tuba
Kira Markman - violin
Vardan Ovsepian - piano
Lucas Helfman - bass
Anton Iakukhin - drums

Favorite Piece of String

Kendrick Lamario Bros

Timestretched to the length of the longest recording. Now available for download / vinyl: https://heyexit.bandcamp.com/album/every-recording-of-gymnopedie-1

buy the vinyl

Every Recording of Gymnopedie 1

Single off the EP "El Dorado"
Produced/Recorded/Mixed/Mastered Hapa Siuhengalu 
Photo Taken by Jaiden Carroll 
Art by Nora Sanchez 
Guitar/Vocals: Sean Flanagan 
Bass Guitar/Backing Vocals: Griffin Low 
Drums: Aaron Pirnat 
Song Written by Sean Flanagan

She Don't Understand

Part 2 of the song uses the chords and part of the solo from Stairway to Heaven by Led Zeppelin! Rest was entirely us.

I've Never Told Anyone This Before

performed by Benji Fleischacker and Henry Shapard

art by Joseph Nechvatal

Courante (after Bach)

Written, produced, and recorded by Mandip Bhadra

Our Love

Recorded by JACK Quartet on February 22nd, 2018

Liquid Structures

► Beirut local Tala moves the crowd with a tidy House set.
► Follow us on SoundCloud: blrrm.tv/subscribe-sc

Tala House Mix | Boiler Room Beirut

Bass and a fat bit of production help via Kevin Painter 
Guitar via Alberto Sifuentes
Art by Maria Luisa and Madison w. Chaplain

Into (In Two) Places (demo)

Indiana University Concert Orchestra; David Dzubay, conductor

more info: http://www.robertrankinmusic.com/full-fathom-five

Program Note: 

The title, Full Fathom Five, comes from a song sung by the siren-like spirit Ariel from Shakespeare’s The Tempest. In its context of the play, Ariel sings out a haunting poem which refers to a storm, a shipwreck, and the eventual drowning, in water about 30 feet (ﬁve fathoms) deep, of the father of the character to whom the lines are addressed. Though my work is, in essence, a tone poem depicting and reacting to this episode in The Tempest, the initial inspiration came from Jackson Pollock’s 1947 painting also entitled Full Fathom Five. Pollock’s dark and brooding painting, which includes nails, tacks, and cigarette butts, suggested a perhaps more violent and sinister take on Shakespeare’s take. Both of these sources proved vital in creating my own speciﬁc take on Ariel’s song.

Full Fathom Five opens with a rapid descent from the top range of the orchestra to the lowest. The music continues to spiral downward as an English Horn sings out “Ariel’s Song”, a menacing yet somewhat seductive, melismatic lyrical line. Low churning gestures in the cellos and basses begin to gain traction, eventually launching the piece into a much faster section, “Storms & Spells”. Here, bursts of Ariel’s sorcery, a flash of high woodwinds and bells, create violent and rapid changes in the orchestra. The music eventually works its way to the highest and loudest possible register before plunging back into the dark, murky world of the opening. The concluding section “Ariel’s Final Song” brings back the English Horn, this time playing a more melodic line which, as before, is swallowed up by a series of churning gestures in the orchestra. The piece concludes with one ﬁnal rapid descent into the turbulent depths of the ocean.

Full Fathom Five: for orchestra (2018-19)

Mason Moy is a composer currently living in Harrisonburg, VA. He particularly enjoys incorporating the electric guitar into classical music, exploring the space where popular and classical musics combine.

photo credit: Sara Zhu

Favorite Piece of String

Mason Moy

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