Mezzo-soprano Lotte Betts-Dean
Piano Bradley Wood

THAW

With my friends Mico N. Aquino and Yvonne-Nikola Fontaine we wrote a new piece every day!
Here are my submissions to the project and you can follow the links here to see all the videos with scores :-))))))))))))))))

https://www.youtube.com/@AnatoArchives/videos
https://www.youtube.com/@MicoAquinoComposer/videos
https://www.youtube.com/@MatthewLeeKnowles/videos

DAY SIX: BLOSSOMS IN THE DUST/FOR MARSHA HUNT

Sardonic rondo whose theme is a quasi-waltz with Attention-Deficit-Disorder. 

Weill in the Mood Nr 3 - for Piano Four Hands

Sextet and Solo (2025)

Solo improvisation 2 (St. Cyprian's, London, 2025-06-20)

Tristan Wilson, viola

Baird Recital Hall (University at Buffalo)
June 1, 2025

I see beyond my eyes (2024)

"Orison" is a work for ondes Martenot and electronics commissioned and performed by Daniel Áñez. It was irresistible for me to associate this early electronic instrument with science fiction and the idea of extra-terrestrial life, and so the work takes on a quasi-narrative, atmospheric character addressing these themes and their relationship with spirituality, the idea of the metaphysical 'other,' and personal feelings of alienation and otherness. Besides being an incredible ondist, Daniel has a virtuosic fluency with synthesizers and effects pedals, and so the work incorporates a significant signal processing component, which Daniel implemented. The work also features a vocoder during a brief sung passage. The work premiered in 2024 at the Electric Eclectics festival in Meaford, ON, and this studio recording was realized by Daniel Áñez and James O'Callaghan in 2025.

Orison - Daniel Áñez

"Now that everything is easy, there is so much to do." — Morton Feldman

Making art is not just self-expression for me — it’s self-discovery. Each work holds a trace of my heart and mind, poured out with more or less success, like every artist I’ve taught or known.

Decades of teaching art and music have shown me the raw dreams of thousands of emerging artists — always vulnerable, always anxious. I recognize that same anxiety in myself now, as I turn again to my own truth.

My work is a way to sit with that unease. To meditate. To reflect. To empty my mind and listen. I don’t find answers there — only myself.

sofar

One of a series of algorithmic 31-voice fantasias

Fantasia for 31 voices, vs. 5 no 0022b – Angels

Llyn Cerrig Bach

		ymyl ddeheuol Llyn Cerrig Bach

		gwelyau erwain, gwyddfid

		lledaenu mawn dros y tir tywodlyd

		coed afalau surion, y ddraenen ddu

		echdynnu mawn o Gors yr Ynys 

		helyglys pêr - rhwydwaith o ddŵr agored  

	cadwyn gang haearn wedi'i ddal i fyny yn nannedd yr oged

		dyfrllys amryddail a llinad eiddew 

			pum cylch gwddf 

		cornwlyddyn, gwybybyr wythochrog 

		tystiolaeth o aberth dynol?

		dŵr-lyriad nofiadwy, cors gyrs

saith cleddyf, chwe phen gwaywffon, darnau o darian, rhan o utgorn efydd

		clysturau o garr helyg a thir lleidiog 

		offer y gof, darnau o ddau grochan

		marchredynen y gors a hesgen hopysaidd  

	bariau haearn ar gyfer masnachu ac esgyrn anifeiliaid 

			wedi torri'n fwriadol 

	wedi'u gosod yn y llyn fel offrymau addunedol
                                                                
                                                                           TRW

Llyn Cerrig Bach

A fact of nature: one and the same thing may admit both the simplest of specifications, yet also exhibit rich behavior verging on the quasi-random.  

If a 3-note chord has pitches sitting x, y and z semitones below C7, that chord occurs here at time x^3 + y^3 + z^3.

That's the whole score of the work (modulo a simple orchestration strategy).

So all the rhythmic complexity, and all the counterpoint and voice leading simply emerge from the implications of that short sentence. 

I thus invite you to listen for the structure, the generating intention.
But I invite you, equally, to listen for the phenomena, the temporal extension.  

To my ears what unfolds has something subjective, even expressive about it, even though I know it's all implicit already in that simple formula.

The Treachery of Simple Arithmetic, for 10 instruments

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

DAY SIX: BLOSSOMS IN THE DUST/FOR MARSHA HUNT

Matthew Lee Knowles