Program Note:
eidos; qualia oscillates between presence and absence, implying a continuity between being and non-being, appearance and disappearance. It is inspired by Yuk Hui’s discussion of recursivity, a concept that he likens to the mastery of shanshui painting: “when one sees something when there is in fact nothing; when there is nothing where one sees something.” I convey the idea of recursivity musically by rendering the soundless as equally audible as the sounding. By positioning the musicians around the audience and by gradually foregrounding the presence of space, I transform the soundless—the relation of one body to another—into something that is perceived both visually and aurally. In the final section of the piece, silent everyday objects (e.g. cardboard boxes and ceramic pots) emerge from their habitual silence as restless, unrelenting voices demanding to be heard.

Performed by Talea Ensemble at the Annex Theatre in Vancouver on April 23, 2022.
My deepest gratitude to Giorgio Magnanensi and Vancouver New Music.
Thanks also to conductor James Baker for assisting with the initial rehearsals. 

Performers:
Barry Crawford, flute
Marianne Gythfeldt, B-flat clarinet
Carrie Frey, viola
Chris Gross, cello
William Kuo, live electronics + guitar pedals

Sound technician: Sam Torres

eidos; qualia | 23.04.2022 | Talea Ensemble

Liesa Van der Aa & Tom Pauwels.
Popular American music made strange, distortion and transformation through explosion of our ill-tempered tonality.

Christopher Trapani : Wayfaring Stranger, Freight Train arrangements for voice, violin, guitar, pedal effects and delay sculptor (custom-made by the composer)

Larry Polansky : Sweet Betsy from Pike, Eskimo Song, Dismission of Great I for voice and the Lou Harrison National Just Intonation Resonator guitar.


Wayfaring Stranger (arr. Christopher Trapani)

Distractfold live at Kammer Klang, Café Oto, October 4, 2016.
Instrumental performance, expressive signal processing, looping and live track mixing by Linda Jankowska, Emma Richards and Alice Purton. 
Recorded by Shaun Crook.
Mixed by Mauricio Pauly.
Mastered by Richard Scott.

Charred Edifice Shining, for amplified string trio

duo for percussion and saxophone - Scapegoat - Noam Bierstone and Joshua Hyde. 2016

Plastic Disorder

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.

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SWAN is commissioned by NewMusicUSA

SWAN

Ensemble Container: Piano (percussion) Alexandra Bellon, Clarinet Marie Mercier and Cello Esther Lefebvre 

Three Tales/ is a study in friction. With the sweep of a plastic lid along a wound brass piano string, the passage of air against a clarinet reed bubbling with water, the rub of bow and hair against finger-muted cello strings its opening soundworld seems to vibrate every molecule of air. Each ‘tale’ is marked by a new set of sounds, with the transitions staggered between instruments. By the end, the metallic halation of the beginning has become a smudge of piano clusters, clarinet air-sounds, played using a trumpet embouchure directly into the instrument tube, and cello whispers.
Tim Rutherford-Johnson

Three Tales

Recorded live on August 13th 2017 at the Kalv Festival, Sweden.
Please listen with headphones.

Performed by:
Linda Jankowska, Emma Richards, Alice Purton

Pierluigi Billone - Mani.Giacometti (2000)

for any number of melodicas and analog & digital synthesis. 
premiered march 2018 at the borealis festival for experimental music in bergen, norway. 
written for pamplemousse [natacha diels, jessie marino, andrew greenwald, dave broome, bryan jacobs, weston olencki]

for melodicas [2017-18]

Michelle Lou
Telegrams
for prepared bass clarinet and bluetooth speaker

Liam Hockley, bass clarinet
Recorded April 26, 2018

Michelle Lou - Telegrams

Passages from "Full," an ongoing multimedia project, performed by Liam Hockley in May 2018.

Passages from "Full"

Grabada en 1970, "Tiempo de Verano" fue el mayor éxito de Alberto & Raymond, alcanzando las primeras posiciones en las emisoras de la época. También tuvo record de ventas en Costa Rica y fue distribuída en Perú, Ecuador y otros países de Sur América.
Recorded in 1970, "Tiempo de Verano" was Alberto & Raymond biggest success, reaching the first positions in radio stations of that time. It obtained sales records in Costa Rica and was launched in Perú, Ecuador and other countries of South America.
Staff:
Fernando Zumbado (RIP)- Piano
Quincho Prado (RIP)- Flauta (Flute)
Alvaro Avila (RIP) - Bajo (Bass)
Ronald "Pituza" Gutiérrez - Batería (Drums)
Alberto y Raymond Pauly - Guitarras y voces

Alberto & Raymond - Tiempo De Verano (1970)

Costa Rican composer, improviser and producer of hybrid (instrumental/electronic/amplified) music. Based in Vancouver since 2017.

Charred Edifice Shining, for amplified string trio

mauriciopauly