Name: Theme and Continuous Variations on a Female Voice by Nguyễn Tô Hoàn Phúc
Duration: 8 min 28 s
Description: I composed this little fun piece only to keep myself working with music everyday. Using a short random ASMR clip by a woman on YouTube combined with built-in functions of Ableton Live and a midi controller, I played and recorded this piece myself following an open score. Headphones are recommended and the volume should be kept at medium since the last minutes are very loud.

Out now: https://vision.fanlink.tv/VSN081

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For us, VISION has always been about pushing the envelope, both musically and artistically. For ‘Chronos’ we wanted to write something with this ethos whilst focusing on space in the music, and also exploring themes of modern sci-fi. VISION has been massively influential on us since its inception, so it’s been an honour to work with them on this release.

Chronos

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Aeon

Why (Original)

Đây là ca khúc "Vì đó là em" của nhạc sĩ Diệu Hương.
Vì có giai điệu đẹp nên mình mạo muội, xin phép tác giả cho mình đặt lời mới mang tính thiền ca nhằm nuôi dưỡng thân tâm và cùng chia sẻ với các bạn hữu duyên. Xin chân thành tri ân tác giả Diệu Hương.

Vì đó là con (Be beautiful be yourself)

This is tribute to Olivia Newton-John, a fashion icon and a singer with a unique angelic voice, who just passed away. I’m not a singer at all, just a big Olivia fan from childhood, singing my heart out one of her famous songs and paying tribute to her fabulous career. Rest in peace Olivia ❤️‍🩹

Hopelessly devoted to you - Olivia Newton-John (cover)

Anna Berg's piece Synchondrae (2021) was written for Det Norske Blåseensemble (The Norwegian Wind Ensemble). It was premiered by Det Norske Blåseensemble in January 2021 with conductor Kai Grinde Myrann. Mastered by Mats Claesson.

Synchondrae (2022)

We compose a score for a movie "Pao’s Forest". In this film score, Phuc and I used several non-pitch metallic percussions which are based on a sound sculpture of Marilyn Donadt and bell plates to create all the sounds which you will hear while watching. The reason is that we live in a world which does not value individual voices. Therefore, these metal instruments could produce distorted sounds, allowing us to express the human soul.
______________________________
Recorded & Mixed by Nguyen Hong Giang

21+33

tormented forest

tormented forest - phucnguyentohoan x vohahanhnhan

I composed this little fun piece only to keep myself working with music everyday. Using a short random ASMR clip by a woman on YouTube combined with built-in functions of Ableton Live and a midi controller, I played and recorded this piece myself following an open score. Headphones are recommended and the volume should be kept at medium since the last minutes are very loud.

Theme and Continuous Variations on a Female Voice

Xymene II (2024) performed and commissioned by Trio KAMÖ / Le Bestiaire

Alexina Cheval, flute
Ulysse Junek, viola
Emma Prieur-Blanc, harp

Performed at Maison de Norvège, Paris, November 30th 2024. 

Recording: Hermod Ringset Bentsen and Rune Rebne
Master: Mats Claesson

Photo: Gorm K. Gaare

Xymene II (2024) for harp trio

Tapestry – a polychromic fabric, was an inspiration for the title of this piece of music, which has a decorative and repetitive character. According to the image of weaver's art, the compositional principle consists of binding different attacks of sound in order to create a timbre, dynamics and rhythm polychromy in time. 

Tapisserie for Flute, Clarinet, Piano, Violin, Cello is performed by Ensemble Court-Circuit and directed by David Hurpeau in 2015.

Tapisserie

When robots save us time. A problem with a future.

The digitalisation of work and the use of robots require fundamental questions to be asked about the role of humans in this process. Machines and robots that act and decide more and more independently are moving into our living environments. Robots are facing increasingly demanding tasks, currently they are only used in factories that are already largely automated, to maximise profit more efficiently than break-demanding, error-prone, and union-organised humans. This is because beyond the world of work, they are now set to learn how to act more independently and learn from their own errors, something so many people still cannot manage. There is also the question of morals, ethics, and culture; values reflected in what they say and do – values that many people are losing. 
Which programming god will manage it? And on what fateful day?

Are humanoids now becoming the more humane humans? Would they be able to better protect the planet and our animals, to safeguard their own morality?

Or will they cause ethical problems, for instance by leading to new dependencies instead of freedoms and turning people into objects monitored by technical systems or powerful monopolies? With loss of privacy and autonomy as a possible consequence.
People are worried that computers are becoming too clever and could take over our planet. The actual problem, however, is that they are too dumb and have already taken over the world.

In the future, we will have to do things that people can do easily, but machines cannot.

Musically, electronics are in competition with ensembles. Still rather subdued in the beginning, machines are becoming more and more dominant. Both worlds are trying to learn from each other, for mutual benefit. Is increasing the rhythm still decisive in the pursuit of maximum efficiency? The question of perfection is being asked more and more. Uncertainty and fear of the future are fragmentarily penetrating the human ensemble. Will robots replace them as well? After all, they have since evolved in harmony and imitation. Maybe switching them off will provide a solution – both of them to start again, both in their own way.

Theme and Continuous Variations on a Female Voice

Nguyễn Tô Hoàn Phúc

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