to kill a monarch (test audition)

In this episode of Talking Experiments, host Jennifer Torrence chats to composer Catherine Lamb about her desire to create pieces that evoke a sense of collective intensity among musicians; about how, as a young composer, she found a sense of belonging through rational intonation; and about how she conceptualises listening and the perception of sound, and in particular the idea of sound as multi-dimensional shapes.

Catherine Lamb’s inter-spatia premieres at Borealis – a festival for experimental music on 18th March in Bergen, Norway, and then on the 20th March at MaerzMusik in Berlin, Germany.

Talking Experiments is hosted by Jennifer Torrence and produced by Borealis – a festival for experimental music

Talking Experiments with Catherine Lamb

Ghanti

Live in Conservatorium van Amsterdam
10.05.2023

Bass Clarinet - Michele Mazzini
Cello - Pau Sola
Baroque Flute - Teresa Costa
Double Bass - Pietro Elia Barcellona
Tenor Recorder - Irene Sorozabal
Keyboard - Me

Recording: Dimitri Geelhoed, Lisa Weyrauther
Mix: Me

Psalm Song 2

बगलामुखी (Bagalāmukhi)
nirantar
[voice, clavichord, zither]
2024

performed by:
Kristia Michael – voice, zither
Alex Mastichiadis – clavichord

In this work, we find methods to organize a gamut of twenty-four tones generated with an exponential unit: namely, the fourth-root of the fifth harmonic. Beyond generating the gamut, if we take this unit as an organizational structure that circumscribes various tonal configurations within it, one finds a vast tapestry of tonal figures, interconnected by this unit, that resonate with various traditional tonal organizations—most notably, Arabic and Turkish maqam, Persian dastgāh, Byzantine octoechos, Greek harmoniai, and Hindustani rāga—without direct referentiality to any particular tradition. 

This work is an ongoing charting of a fractal roadmap within this torus-like tonal field, where multiple paths circle back to the same harmonic regions. Kristia and Alexis walk together through this field, marking landmarks with melodic fragments, and repeating and varying the phrases that the other performs as a way to assure each other as to where they are at any given moment. 

In this way, listening becomes a relation of space and movement: taking small steps together and determining the size of these steps; and listening also becomes a relation of time and memory: taking the next step together when it is clear where one is and where one should to go towards.

बगलामुखी (Bagalamukhi) {xⁿ: x⁴ - 5 = 0} [live excerpt]

performed by Nirantar Yakthumba
solo version of the piece, DIY-ed recording at Nirantar's home, after having retuned his piano
https://lucienezri.com/work/for-kali

for kali (solo)

a series of short pieces distantly inspired by the work of Mustapha Skandrani, and written for (ideally retuned) piano and/or physical models of piano  
this is a first, rough & unedited output from SuperCollider — maybe inconsequential, maybe not, distorted without a doubt
https://lucienezri.com/work/for-semaison

for semaison ( preview )

musical letter to Greg Chaitin about preliminary reactions to the readings of Leibniz. 
score including the letter is available here:
www.unboundedpress.org/scores/preliminary_thoughts_score.pdf

preliminary thoughts

score available at http://www.unboundedpress.org/scores/4_computer_music_studies_score.pdf

code available at http://www.github.com/mwinter80/4_computer_music_studies

4 Computer Music Studies

Segulharpa / As Electromechanical Reverb, fed into BX-15 and back into itself

Recorded live at chords, melodies festival, KM28, Berlin on January 8 2019
(sorry for some digital clicks).

Marc Sabat - violin
Thomas Nicholson - violin
Johnny Chang - viola
Catherine Lamb - viola
Vilhelm Bromander - double bass
Fredrik Rasten - e-bowed guitar, composition


Photo by Photomusix / Cristina Marx

बगलामुखी (Bagalamukhi) {xⁿ: x⁴ - 5 = 0} [live excerpt]

nirantar

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