A wonderful and engaging sonic painting of a "singing" cave. Fantastic!

This is fantastic, very new and original. I have listened to the 7 recordings of this same piece performed by different instruments.  Which one better! A great idea to illustrate the hardness of the individualization that the (almost forgotten) confinement entailed: each artist taking refuge in his cave using art to survive.  It has been a great discovery to know your music (I have also listened to other of your works).

Choices # #, Gene Jumper, George Jones, ( cover )

Choices,# #, Gene Jumper, George Jones, ( Cover)

same brain/scrambled/insane/these days/when?/ TV /different days

No Thanks Mates/B A  WalkN The Plank

Indiesyme Yogurtin

Fresca Butter Mix

Sunset

A small study with frequency modulation sounds of the TX81-Z synthesizer, created during the "Internationale Studienwoche für Zeitgenössische Musik" (March 18-25, 1989) in Lueneburg

Underscore    LP005

Glockenhaus-Studie

again an attempt to write and compose my own songs

kvinden på min vej

YOUTUBE CHANNEL: www.youtube.com/user/WrittenForGuitar
BANDCAMP: georgewanat.bandcamp.com/

In The Fullness Of Time

Floating (Free Download)

„Arctica“ (28.03.2023 )

Arctica ein längst verschollener Kontinent aus der frühen Erdgeschichte.

Die Menschheit ist nur ein Wimpernschlag auf diesem Planeten. 
Wer weiß ob die Spuren unseres Daseins verschollen sein werden wie dieser alte Kontinent „ARCTICA“

Der Name Arctica wurde 1996 von John J. W. Rogers vorgeschlagen.
Er wählte den Namen Arctica, weil sich zu einer wesentlich späteren Zeit der Arktische Ozean durch diesen hypothetischen Kontinent hindurch öffnete.

ARCTICA als erdgeschichtlicher Kontinent entstand vor etwas 2,5 Milliarden Jahren.
Arctica könnte damit aus dem nochtetwas älteren Kenorland durch Akkretion des Wyoming-Kratons und den zwei sibirschen Kratonen und den Rae- und Nain-Komplexen in Grönland entstanden sein.
Zitat / Quelle: Wikipedia

Diese zauberhafte Mystik dieses längst vergangene Kontinents hat mich dieser Komposition inspiriert. Reist mit mir musikalisch in die Vergangenheit zu dem Kontinent Arctica.


Vielen Dank für Eure geschätzte Aufmerksamkeit.
SOUNDCLOUD: https://soundcloud.com/cloppenburg-music

Musik :  Björn Cloppenburg  Alle Rechte vorbehalten
Foto	: Björn Cloppenburg
Es wurden für dieses Projekt virtuelle Instrumente der folgenden Firmen verwendet: 
SPITFIRE AUDIO:
ORIGINALSPECULATIVE MEMORIES VOCALS SARA FORS GRANULAR CLOUDS
Britisch Drama Toolkit
TUNDRA
¬¬¬¬¬¬¬¬___________________________________________________________________________

"Arctica" (03/28/2023 )

Arctica a long-lost continent from early Earth's history.

Humanity is just a blink of an eye on this planet.
Who knows if the traces of our existence will be lost like this old continent "ARCTICA"

The name Arctica was suggested by John J.W. Rogers in 1996.
He chose the name Arctica because at a much later time the Arctic Ocean opened through this hypothetical continent.

ARCTICA as a geological continent arose about 2.5 billion years ago.
Arctica could thus have formed from the somewhat older Kenorland by accretion of the Wyoming craton and the two Siberian cratons and the Rae and Nain complexes in Greenland.
Quote / Source: Wikipedia

The magical mysticism of this bygone continent inspired this composition. Travel with me musically into the past to the continent Arctica.


Thank you for your valued attention.
SOUND CLOUD: https://soundcloud.com/cloppenburg-music

Music : Björn Cloppenburg All rights reserved
Photo: Björn Cloppenburg
Virtual instruments from the following companies were used for this project:
SPITFIRE AUDIO:
ORIGINALSPECULATIVE MEMORIES VOCALS SARA FORS GRANULAR CLOUDS
British Drama Toolkit
TUNDRA
__________________________________________

Arctica

ARCTICA

KANNA

Andrew Friedman is a San Francisco-based clarinetist, composer, and educator devoted to performing music new and old, large and small. His freelance credits include symphony, ballet, and opera institutions around the Bay Area and beyond; he is also a frequent performer at the Hot Air Music Festival and tours nationally with the Oakland-based classical/hip-hop fusion group Ensemble Mik Nawooj. Recorded appearances include on the From The Top and Performance Today radio programs, the soundtrack to Christopher Coppola’s 2017 feature film Torch, and Bay Area composer Taylor Joshua Rankin’s debut album Palettes.
Friedman graduated with honors from the University of Puget Sound with degrees in Music Performance and English and holds an MM from the San Francisco Conservatory of Music; he spent summers training at the Round Top Festival Institute and the Eastern Music Festival. His teachers included Carey Bell, Dr. Kelly Burke, and Jennifer Nelson.

www.andrewfriedmanclarinetist.com

In the Refuge of a Cave:
Before there were bunkers, fortresses, or strongholds, there were caves. Since long before the dawn of recorded history, caves have held a universal significance as a source of refuge—a safe haven from the elements, predators, and natural disasters. Inversely, however, caves have widely been known to inspire a sense of apprehension and foreboding as well—potentially harboring in the darkness the very dangers from which they are meant to offer protection.
Writing these program notes in late July of 2020, I can't help but compare the duality of caves to the tremendous changes that have taken place during the last six months. The Pandemic has forced just about everyone to reinvent their lives in order to preserve their safety and security. Whether metaphorically or analogously, we have all retreated to our caves in one way or another. For example, while many of us have achieved refuge through social distancing and sheltering-in-place, doing so has forced us to face the existential darkness of isolation and confinement.
In the Refuge of a Cave (2020) is my perspective on these themes as a composer and musician. What musical artists could once rely upon—concert spaces, audiences, even the ability to perform onstage together—has disappeared or drastically transformed in mere days. Now, one's own insights, abilities, and resources are the only certainties in their musical endeavors. When writing In the Refuge of a Cave, I imagined these restrictions as a literal cave surrounding the musical artist. What could a musician do to create music if they were isolated within a cave? How could one find artistic fulfillment in such a lonely and remote place? The only natural answer is that a musician would need to make do with the sonic resources and tools that the space granted them. The musician would utilize the reverberations and echoes generated by the cave's walls; in doing so, they would stumble upon a way to play music with another—a past version of theirself—an echo.
In the Refuge of a Cave is dedicated to my many friends and colleagues who have found themselves forced to navigate a unique cave of their own in these challenging times. Thus, it is designed to be playable by any instrument or voice type, and no two performances will ever sound alike.

Composed and mastered by Nicholas Denton Protsack.

Performed and recorded by Andrew Friedman.

Andrew Friedman (clarinet) - In The Refuge Of A Cave

An ongoing aspiration of BMI Award-winning composer and cellist, Nicholas Denton Protsack, is to seek new connections between music and the natural world. Called a "(composer) to keep a close eye on" by the Canadian Music Centre, Nicholas' ecologically informed music includes composed works, studio albums, and experimental improvisations, and has been featured in a wide variety of concert settings across North America, Europe, and New Zealand. Recent accomplishments include two first prizes in the 2021 SOCAN Foundation Young Composers Awards and commissioned works for the Toronto Summer Music Festival and the American Prize-winning Ensemble for These Times (E4TT).

	As a cellist, Nicholas is an active freelance performer and advocate of new music—frequently involved in collaborative projects that range from traditional to highly experimental concert idioms. Although primarily a chamber musician, he has also appeared as a soloist with the Okanagan Symphony Orchestra and the San Francisco Conservatory Orchestra.

	Nicholas is currently undertaking a PhD in music at Victoria University of Wellington (NZ), studying with composers Michael Norris and Dugal McKinnon. His other major teachers have included David Garner (composition), Jean-Michel Fonteneau (cello), Jennifer Culp (cello), and Morna Howie (cello).

Andrew Friedman (clarinet) - In The Refuge Of A Cave

Nicholas Denton Protsack

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