Opera for ensemble  and 4 voices. Ensemble LeBalcon, Ryan Vellet (tenor), Mathieu Dubroca (Bariton), Camille Merckx (contralto) et Fabienne Séveillac (Mezzo-soprano)

Nuit aveugle

all that remains

Bait And Trap

Ensemble SurPlus, Schloss Solitude, Stuttgart, Germany, 19 August 2007

...à son dernier soupir

....the wrong shall fail/the right prevail....

Eye Haitch Tea Bee

First performance, Ensemble Dal Niente, Studio Z, St. Paul, MN, July 29, 2015.
Oboe, horn, harp, viola, and electronics. 

Drift, 201504-06 (mining IIa)

Artist in residence Schuyler Tsuda performing live on new sound sculptures in part 1 of his 3-part instrument builder series at ShapeShifter Lab.  Instruments featured included a 6-string trompette marine with custom steel hardware, cello strings, piano bass strings and a hand crank, a suspended bell plate coupled to a suspended metal disk via music wire and a simple drum machine using a motor with wire arms, a contact mic'd wooden plate and a distortion pedal.

Audio and video recording by ShapeShifter Lab
Audio mastered by Schuyler Tsuda

Live at ShapeShifter Lab, May 3

performed by the String Orchestra at South High School, Minneapolis. This orchestra comprises players with a range of experience on their instruments. This work was composed as part of a project for the McKnight Visiting Composers fellowship.

String Meditation (2018), for string orchestra (all levels)

Scintillia consists of three huge scores made of bamboo, willow and wicker. One score is based on satellite photographs of a forest in South Dublin County; the other two scores are based on constellation positions and satellite orbits in the sky over Tallaght on 15 March 2007. In constructing the scores from bamboo and wicker, Verens was influenced by the stick charts of the Micronesian Marshall Islanders. The stick charts of the Marshallese are used as navigational aids for rowing canoes between islands, and notate ocean currents and swells rather than geographical formations. Verens writes “The stick charts fascinate me because they are a completely different way of thinking about mapping, being  concerned with patterns and flows or energy and how these flows are affected by objects that exist within them. This mapping methodology seemed perfectly suited to sound.” Similarly, Verens has often referred to Hesse’s The Glass Bead Game, noting “Music doesn’t merely have a shape but shapes the world.” In Scintillia, Verens plays a sort of glass bead game with space and sound, highlighting connections between constellations, geography, sound and energy, and promoting a very unique type of musical harmony. Performed by Jennifer Walshe.

"Scintillia" by Detleva Verens

Music & lyrics written / recorded / mixed at home by Marco Autiero. 

Instruments include violin performed by Gabriella Romano, electric guitar, Tascam DR-05X. 

Mastered by Enyang Urbiks. 

Artwork by Alice Bloomfield.

Libidine

This is why humidity control is a crucial step in habitat creation

ThreeTwoThreeFive

composer/sound artist/performer - more music at www.shieldyoureyes.bandcamp.com and
https://ab-scheid.bandcamp.com

Drift, 201504-06 (mining IIa)

michaelduffy

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