Johanna Vargas, soprano
Ensemble Linea
Carolina Santiago Martinez, piano
Keiko Murakami, flute contrebasse
Louis Siracusa, double bass
Jean-Philippe Würtz, conductor

IV. Gradual Abruptness
ooo –– ooo –– oo –– o 
gradual abruptness 
french 		(mr., rhythm acuto intros.) 
ital 		(riposante musica, ritmo meno acuto, adattabile)   
                 o                   –– 
non avete da mostrarmi un’altra macchina? (repeat rhythm) 

[…]

(– oooooooo – )

[…]

tu pensi:   
 –  o o  –  o o o  – o o o  –  o 
ha una macchina ancora da mostrarmi? 

Un poco di buon ordine feroce
Aspettare in tempo

	Évidemment

		si tu ne peux
Poétiser
	il te faudra
Cohabiter
Rime e accenti allineati
Évidemment 
Si tu ne peux
		analyser
Il te faudra
		coaliser
Io vado di solito a letto alle undici
o – o o – o o – oo – oo
La poésie du succès 
Le succès du sexu

Bisogna sfruttare i buoni momenti
o – oo – oo – oo – o
– o oo – o ooooo –

Autumn is a season of which I am very fond [about]

Regarde
Au moins
Ce qui est
Écrit
Sur le bout
De ta langue chérie
In nous faudra
Que tu y vas
(synthèse-douleur)
tu parles en prose  

V. Allons, plongeons
Allons, plongeons dans le réel (il le faut)
l’Esthétique Jaune dans son lit de Mort 
l’Esthétique Jeune dans son Lit Subtil
ou bien  
Nous sommes 
[dans son lit de la mort subtile
dans le lit de son jeune mort
dans la mort du lit du son
dans le son subtil de la jeune mort] 
 
(dans la gaze de la réalité). 
Nous passons dans la gaze du réel. 
Arrive l’enfer. L’impératif 
de la[…]
[…]réalité
(nous sommes en communication).

4. Gradual Abruptness 5. Allons, plongeon

Statum

Experimental Improvised Eurorack  Modular . Pinging a filter ( Ripples ) from Maths , processed thru Quarks (Elements clone )and Clouds.PGH LFO2 into the rise and fall of maths ch 1 and 2 . Maths Ch 2 end of cycle into Intelijel uVCA ch A ,out into TipTop  Forbidden planet Filter. FP Filter out to uVCA ch B out to MI Rings ext in .

Caution

This week's prompt was to choose six brief segments of sound that I recently recorded and then to arrange them, semi-randomly, in descending order of volume.

I am teaching at a summer music camp in New Hampshire, so of course I have been recording lots of sounds! I pulled 5  off of my recorder and used one sound back from my home in Connecticut.

I assigned them numerical values and then rolled an online 6-sided die to arrange what sounds would be louder, quietest, and in the middle. The results were, in descending order of loudness:
1) A recording of rain falling on the other side of a door
2) Some weird AM radio static playing from the speaker of a small bus
3) The alarm of a truck backing up
4) The sound of me walking in my apartment and opening the window to record some birds
5) 4th of July fireworks
6)Some crickets by a pond

I quickly adjusted the volume of each track to put them in order. 
Then, I added a small amount of volume automation via sidechaining so that track 2's volume dipped down when track 1's volume peaked, track 3's volume dipped when track 2's volume peaked, etc. 

Next, I added a little panning to make space for everything.

I tried a LITTLE bit of EQ, but found myself running into the interesting problem of things with less high frequencies "feeling" quieter. So, I was pretty minimalist with the EQ.

After that I added a small amount of FX for some ear candy, including making a delay for the AM radio static, panning the crickets from left to right, and adding some flanger and granular delay to certain points in the rain recording.

There's a lot of percussive sounds in here, which makes it sound pretty dense, but hopefully it will stand on its own as a listening experience!

Soundscrape (disquiet0601)

Composed 2017, recorded July 2023

Bernhard Plagg - trumpet 1
Stephan Stadtfeld - trumpet 2
Lionel Speciale - horn
Vladimir Vereś - trombone
Fabian Neckermann - tuba

Sound recording in the studio of the Landesmusikakademie Berlin, 2023
Sound engineer: Benjamin Ostarek

Program Note
Tagundnachtgleiche (Equinox) was created on the occasion of a composition competition for brass quintets announced by the publishing house Furore Verlag in 2017.
At the beginning of 2023, I decided to record the piece in a recording studio and to make it available to the public. The trumpeter Bernhard Plagg was kind enough to take on the project. He put together a brass quintet, organised rehearsal dates, etc.
The composition consists of two elements that alternate or interpenetrate each other. On the one hand, composed, notated music, harmonic and rhythmic in the broadest sense. And on the other, improvised music, mainly consisting of differentiated, nuanced noises and representing a kind of random music, like random sounds in nature.

Tagundnachtgleiche for brass quintet

This week's prompt was to compose music that listens to itself.

So glad you asked! I have been wanting to make a project like this for years as part of my interest in structured improvisation.

I'd still like to do something clever with MAX/MASP and MIDI, but for now I kept myself quite busy with using audio processing in Ableton Live.

Basically, I tried to construct effects chains that would grab short snippets of audio (from a piano improv and also from each other!), process them, and and repeat them much later in the piece (via gates, envelope followers, or LFOs mapped to the inputs of delays and pitch-shifters). I altered the musical material using pitch-shifters (Cableguys, Ableton's Shifter) or delays with very short settings to make percussive sounds.

I also really tried to prioritize changing pitches, with the idea that altering the source tonal material would be a fun nod to classical music's idea of theme and development.

Then I loosely grouped them into things that generated low pitches, medium pitches, and high pitches.

I had a *lot* of material at the end, so I ended up cutting out a few tracks completely. 

Beyond that, my editing was minimal. I managed to volume spikes, and I also cut out some parts of the piano improv, because the generative devices were making their own musical material!

I'm happy with this one - I think it could be done at about 2 minutes and 40 seconds, but I figure this is a good audience for a slightly longer version of the piece.

* * * * * *
More on this 611th weekly Disquiet Junto project, Music That Listens to Itself (The Assignment: Record a piece of music that repurposes itself as it proceeds), at: https://disquiet.com/0611/

Some of the music resulting from this project may be included in a September 29, 2023, event at the Berkeley Alembic in Berkeley, California: https://www.eventbrite.com/e/expanded-listening-music-that-listens-to-itself-tickets-712124101357

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0611-music-that-listens-to-itself/

Soliaudium (disquiet0611)

More on this 612th weekly Disquiet Junto project, Drum Vector (The Assignment: Walk the listener through variations on the same percussive instrument), at: https://disquiet.com/0612/

Thanks to Mahlen Morris for having proposed this project.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0612-drum-vector/

more halF unusuaL

halF vectoR [disquiet0612]

1週間DTM お題➁PLAYLIST : カフェで流れてほしい自作曲３選

カフェでの演奏をイメージしてシンプルな構成(スリーピース)で作りました
生活感満載のメロウなポップスです

#重音テト
#花隈千冬
#Korggadget
#１週間DTM

SynthesizerV 重音テト SynthesizerV 花隈千冬
ライト版を使用

ぐるぐる洗濯(GuruGuru Washing)

More on this 618th weekly Disquiet Junto project, Burying the Lede (The Assignment: Turn old news into new music), at: Disquiet Junto Project 0618: Burying the Lede – Disquiet

About the Disquiet Junto: Disquiet Junto F.A.Q. – Disquiet 1

Subscribe to project announcements: Disquiet Junto by Marc Weidenbaum (Disquiet.com)

Project discussion takes place on llllllll.co 2: https://llllllll.co/t/disquiet-junto-project-0618-burying-the-lede/

ingthele - Disquiet0618

Maurizio Azzan
Wasteland_not yet (2023)
for nine amplified musicians
© Casa Ricordi srl, Milano – all rights reserved

Yalda Zamani, conductor

PHACE
Michael Krenn & Doris Nicoletti, sound objects
Walter Seebacher, bass clarinet & sound objects
Berndt Thurner, percussion
Mathilde Hoursiangou, piano
Ivana Pristasova Zaugg, violin
Leo Morello, cello
Alexandra Dienz, double bass
Samuel Toro Perez, electric guitar
Alfred Reiter, sound design

Audio: ORF / Radio Ö1

Wasteland_not yet (2023) [use headphones!]

Maurizio Azzan

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Ariel González Losada

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