The complete 7 movements of 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

The Celestial Palace (1989)

A one of two tracks that I created for our VFX Breakdown - "Pan T." (Mr T.)

This is my first recording after over a 12-year break, I have a bit of catching up to do :)

In this track I experimented a little with Tone Transfer for sax and trumpet (main melody). The second part is played with Noir sax.

Pan T. VFX Breakdown: https://vimeo.com/826373940

music by Przemek Mastela

Pan T. VFX Breakdown

Sunny Town

by AudioBake
vocal MrDjBigHouse (aka SisterScallyWag)

Blow Stuff Up!!! (by AudioBake)(vocal by MrDjBigHouse)aka SisterScallyWag!

Hint

Northern Stars

Recording sessions from 07/09/2023 - 09/09/2023.
4 tracks MOOG Modular (vst Arturia),
3 tracks Spark2 (vst Arturia),
1 track DX7 (vst Arturia),
presets, mixing, processing and editing: Pier WILL.
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In a basement completely sheltered from noise and the outside world, without telephones or internet, I was able to reasonably compose around fifteen titles without any interference. This isolation will remain a beneficial event in more than one way.

Dans un sous-sol complètement à l'abri du bruit et du monde extérieur, sans téléphone ni internet, j'ai pu raisonnablement composer une quinzaine de titres sans aucune interférence. Cet isolement restera un événement bénéfique à plus d’un titre.
________________________________________________________________________
🛠 - Made with MOOG & Modular / Multi-tracks
🎹 - Composed, arranged, performed, produced by Pier WILL & Studio 4H09
🔲 - Artwork - Pier WILL
🙏 - Acknowledgements - Ableton, AKG, Arturia, Audacity, Cantabile, Focusrite, Korg, M-Audio, MSI, Sony, SoundCloud, Teac, Techniks, Yamaha.
⚙️ - #Ambient #Movies #Experimental 
________________________________________________________________________

❤️Love, 🕊️Peace, 🙏Respect

07-09-2023

07 09 2023

Also on Spotify: https://spotify.link/O39cdQRRxDb
And Youtube: https://youtu.be/WSsS0mUXxZM?si=cEZCP831KeGzWXQR

Again, dark synth stuff (bur feel free to contact me if you have ideas for a better description)

Flying Woodnymphs

All of the people throughout history
Who used the earth so thoughtlessly
Now there’s not much left for us at all
Cause our shortsighted ancestors dropped the ball

A hundred years ago the experts predicted
That we would ruin the earth
But the people persisted 
If we could turn back time and do it all again
Maybe this time the earth would be our friend

What a terrible awful mess we’ve made

The old people speak with a gleam in their eyes
Of childhood memories and clear crystal skies
They say that once the sky was blue
And children played upon the land

A hundred years ago the experts predicted
That we would ruin the earth
But the people persisted 
If we could turn back time and do it all again
Maybe this time the earth would be our friend

What a terrible awful mess we’ve made

They made such a mess such a godawful mess
I hope they at least had a good time
They lived so large off the fat of the land 
And now it’s payback time 

Our ancestors were shortsighted and now their children pay
Awakening each morning to greet the tainted day
Gazing out across an endless barren plain
No more amber waves of grain

If we could turn back time and do it all again
Maybe this time the earth would be our friend

What a terrible awful mess we’ve made

They made such a mess such a godawful mess
I hope they at least had a good time
They lived so large off the fat of the land 
And now it’s payback time

If We Could Turn Back Time

Marco Lucchi : mellotron and synthesizers

*

"Nel Museo nazionale romano di palazzo Altemps si conserva una testa in marmo che secondo la tradizione rappresenta un’Erinni addormentata. Gli occhi chiusi, i ciuffi dei capelli scarmigliati sulla fronte e la guancia, le labbra appena dischiuse, il volto della Furia – se di una Furia si tratta, sia essa Aletto, Megera o Tisifone – riposa quieto su un cuscino di buio marmo, come se sognasse.
Una furia che invece di gemere e urlare, scuotendo la chioma serpentina, chiude gli occhi e sogna, smentisce se stessa. Eppure proprio e soltanto il sogno o il sonno di una furia assomiglia al pensiero. Il pensiero non è soltanto contemplazione, è innanzitutto furore. Si dà pensiero, si dà contemplazione, solo se prima vi è stato furore, se guardando l’abominio degli umani e del mondo, la mente – diceva Bruno – discesa «ne la parte più inferna… si sente lacerare e sbranare». E solo se nel nostro eroico furore riusciamo a chiudere gli occhi e sognare, si ha vera quiete, si ha visione e teoria. I nostri sogni non sono allora fantasie a occhi aperti, che sappiamo ingannevoli e vane, ma verità a cui, anche se con gli occhi chiusi, non possiamo non credere, perché abbiamo prima visto la vendetta e l’errore. Il pensiero è questo acquietarsi del furore, è un’Erinni che sogna."

Giorgio Agamben

*

13 dicembre 2023

Furore che sogna [2]

extraordinary voices...why not? they can be so good

Discover Eternity

The 6th movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

VI 'Presage' - The Celestial Palace (1989)

The 5th movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

V 'Evocation II' - The Celestial Palace (1989)

The 4th and central movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

IV 'Legend' - The Celestial Palace (1989)

The 3rd movement from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

The illustration is by Louis Delaporte (1842 – 1925)

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

III 'Evocation I' - The Celestial Palace (1989)

The 1st and 2nd movements from 'The Celestial Palace'

1989 (complete work appx. 25’)
2 mezzo-sopranos and ensemble
alto.fl.0.3.0 – 1.0.3.0 – 2pnos, 2 perc, – 5 vc

This work relates the legend of the Phimeanakas, The Celestial Palace, that lies in the heart of the ancient city of Angkor Thom. Each and every night the King had to have union with the serpent goddess in order for good to come to the Khmer kingdom. Failure to have this union would bring calamity to the empire. The work is structured on the physical shape of the Phimeanakas, it uses original Sanskrit texts found on the steles of the ancient Khmer kingdom and the narratives contained within are symbolised in a host of ways. This work became the central (and most intimate) act of a five act opera 'Bayon', that celebrates the life of Jayavarman VII, the most famous and extraordinary of the ancient Khmer rulers. © Paul Max Edlin 2016

The performers on this recording are RCM Twentieth Century Ensemble conducted by Edwin Roxburgh.

A film version of this complete work is available on You Tube via this link: https://www.youtube.com/watch?v=_FmTMxiMZbQ&t=273s

I 'Incantation' & II 'Ritual' - The Celestial Palace (1989)

Paul Max Edlin's music is published by Composers Edition. 

Paul Max Edlin, 2016/2017 Composer in Residence for the London Chamber Orchestra, has a career that combines composing with higher education, artistic direction and performing.  

His works have been performed by many leading artists including Alison Balsom, Arditti Quartet, Britten Sinfonia, David Campbell, Cantus Ansambl, Dame Sarah Connolly, Dame Evelyn Glennie, Rolf Hind, Johannes Möller, London Chamber Orchestra, London Sinfonietta, Olga Pasiecznik, Psappha, Silesian Quartet, Southbank Sinfonia, Gabriella Swallow, John Wallace and The Wallace Collection and Bede Williams. 

He studied with Edwin Roxburgh, Richard Blackford and Joseph Horowitz (Royal College of Music) and Michael Finnissy (University of Sussex). He has won many prizes including Premio Internazionale Ancona, Harriet Cohen Memorial Award and United Music Publishers Prize. His music explores symbolism and often derives its inspiration from extra musical material. From the mid 80’s to mid 90’s many works were inspired by the art and architecture of South-East Asia, especially Indochina. From 2000 onward symbolism of a wider range of sources guided his music, from the chiastic structures of J.S. Bach to the writings of Gabriel García Márquez and Federico García Lorca and visual work of Frida Kahlo.

Paul Max Edlin is former Director of Music at Queen Mary University of London. He was Artistic Director of Deal Music & Arts (formerly Deal Festival) from 2004 to 2021, Sounds New (2007 to 2013), Director of International Composer Pyramid (2008-2013) and was founding Chair of the Board of Trustees of Ora Singers. He is current Executive Chair of W.E. International Music Festival, which brings eastern and western cultures together.  From 2012 to 2013 he was President of the Independent Society of Musicians (ISM), the UK's leading association for professional musicians.

IV 'Legend' - The Celestial Palace (1989)

Paul Max Edlin

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