pf. Ensemble Modern
cond. Enno Poppe
premiere, Frankfurt, March 2020
contains a field recording by Vincent Duseigne of veal calves being separated from their mothers 
(2015, https://archive.org/details/aporee_30571_35170)
art: Egon Schiele, "Sawmill" (1913)

We are all okay

i am going to look out the window and think about you

Amalgam, written by Taylor Brook, recorded by TAK ensemble.

from TAK ensemble's album, Ecstatic Music: TAK plays Brook, available on New Focus (FCR 169).

About Amalgam

Amalgam was written for TAK in the summer of 2015.

Amalgam focuses on orchestration, or more precisely, the mixture and unification of the instrumental forces into one unit. This idea of amalgamation through orchestration is approached in two ways. The first approach aims at fusion, building up a complex form of unison playing, matching frequencies, rhythms, and timbres to create a unified monophonic texture. This extended unison is developed throughout the first large section of the piece.

The second half of the piece explores heterophonic textures: a unison line created by the combination of different elements from by different instruments. Instead of true unison and monophony, fusion through connected and contrasting instrumental lines is the goal.

TAK - Amalgam - Taylor Brook

Flecked (Palimpsest II) was composed for Mira Benjamin and performed at Union Chapel (London) during NU:NORD 2016. Flecked was developed collaboratively through a process starting with the addresses where Mira has lived. 

Recording credit and thanks goes to David Pocknee.

Flecked (Palimpsest II)

piano quintet composed by Martin Arnold (2017)
performed by Quatuor Bozzini and Philip Thomas

Rill 69

Track 1 from the Núcleo Música Nova compilation: "Electroacoustic Works | Vol. 1" (2017).  

Program Notes: 

"Misheard (2017). U.S. composer Dolores White was interviewed on the February 2017 episode of Elisabeth Blair’s podcast: Listening to Ladies; which also featured an excerpt from White’s work for chamber orchestra: Crystal Gazing. I was immediately taken by the central role of the high, metallic, percussion instruments featured in the excerpt. Although I was conscious of the fact that I had been listening to the podcast in a noisy room, and that Crystal Gazing had been excerpted; I was still quite surprised to discover how flawed my mental image of the piece was (when I eventually tracked down a full recording). I was still moved by the piece as written, but I was also quite surprised to find out that it was very different from what I had imagined. In composing Misheard I chose to pursue my flawed impression of Crystal Gazing, in a kind of tribute to an imaginary work (and also to the very real and moving work that led to all of these varied impressions). First, I was concerned with a purely sonic question: how might one build up a (mostly) pitched form around a (mostly) unpitched, semi-random, metallic jangle? However, the process also led to several more philosophical questions emerging from the relationship of Misheard to Crystal Gazing, such as: is the former truly an imitation of the latter? To what degree is attribution to White’s work called for in this context? What is the role of the subjective in all imitation? How does rehearing influence not only musical listening but also composition (especially in a medium as replay-heavy as electronic music)? I don’t know that I’m any closer to answering any of these questions (or the many others that occurred throughout the project), but Misheard is certainly a reflection of these preoccupations. It is for this reason that I have chosen to mention them here, superfluous as they may seem."

Darren Miller - Misheard

composed by Martin Arnold (2013/2017)
performed by:
Claire Butterfield: voice and guitar
Clemens Merkel: violin and whistling
Alissa Cheung: violin and whistling
Stéphanie Bozzini: viola and whistling
Isabelle Bozzini: cello and whistling
Martin Arnold: melodica and whistling
John Abram: banjo
Alex Jang: mandolin and whistling
Jeff Morton: banjo and whistling
Tina Pearson: guitar and whistling
David Riedstra: guitar and whistling
Philip Thomas: plucked piano

Coo - Coo Bird (Victoria)

A chamber miniature written for prepared bass clarinet, violin and piano. Performed at the University of Victoria February 3, 2018 by Heather Roche (cl), Tzenka Dianova (pno) and Ilya Gotchev (vn).

Tributary

the lovely dirt of public spaces
for fixed media

Commissioned by Núcleo Música Nova, «microFOLIA», Universidade Estadual do Paraná

the lovely dirt of public spaces (2018)

Both Sides Now

Mitch Renaud is a composer based in Victoria BC where he co-directs the concert series of-the-now with Chedo Barone.

Flecked (Palimpsest II)

Mitch Renaud

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