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TAXE NO MORE (Original)
It's a rant in my own way with this title Taken from "just Back To My Guitar" here is another way to play my guitars with this coda long enough ..4' 50 to be able to express myself. Please take the time to listen to it until the end if you stop on this title..   
on youtube too : https://youtu.be/7xErIvi40So?si=NH6I93jnBulH9qTb
I wish you a good time with my guitars.
Sacem Protect
All tracks are written, performed, mixed and mastered on Mac Power PC G4 by myself.Cubase 5,0
Dgé breton :Written and performed by Dgé breton/
Dge breton:/guitar, drum, bass keyboard, chant/
Strat guitar, Casio guitar MG .70>
 issu de ma back track « just Back To My Guitar » voilà une autre façon de jouer mes guitars avec cette coda assez longue ..4’ 50 pour pouvoir m’ exprimer. Merci de prendre le temps de l’ écouter  jusqu’ a la fin si vous vous arrêtez sur ce titre.. 
je vous souhaite un bon moment avec mes guitares.

Taxe No More

Original track....
https://soundcloud.com/windscaleblues/outer-shell-spinner?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
chased by unpublished 'Centrifuge'....

[Picture courtesy of Phillipe-d-uxn Unsplash]

Centri Fugue

in 2009 I moved into The Rat Palace, a studio in Hobart. Its been the epicentre of so many projects and I have shared the space with some amazing artists of all disciplines. I have hard drives full of jams from this time and will share a few over the next little while as a way of saying farewell to the space. This one is from August this year when myself ( Bass) and old band mates from an outfit called Hexfarm Dane Renshaw (Drums) and Phil Bywater ( Tenor Sax) found ourselves all in the same country for the first time in many years. So we dusted off some musical cobwebs one evening. The photo is of the last Ute load leaving the studio, Intonarumori strapped on the back - not quite sure where the next studio is yet !

Rat Palace Jams - Hexfarm 2022 #1

Emperor's Wrath

Instruments played:  Sitar, Guitar, Bass, Drums

Lyrics:

Everything under the sun and the moon
The emperor will be there soon
His greatness will bless the land
All the people hand in hand

His presence filled with gloom and grace, 
Sadness etched within his face
Magnificent and Splendorous
Generous and Dangerous

Emperor's Greatness

C-Bon Voyage!

H-Dope Dogs

I was inspired after listening to Jesus Flores Guitarrista's "Popurri The Beatles".

(Disclaimer:  I do not own the copyright to this song.  It is presented here in a non-commercial format and only for entertainment and educational purposes.)

Imagine (John Lennon Cover in instrumental form)

Guitar Dialogue(Guitar solo)

Esophagus Metamorphosis

„Heilig“ „Sacre“  „Sagrada“  (03.07.2023)


Diese Komposition widme ich dem katalanischen Baumeister Antoni Gaudi und seinem großen Bauwerk „Sagrada Familia“

Eine Verwandte erzählte mir staunend von der Besichtigung dieser Basilika.
Dabei zeigte sie mir viele schöne Fotos dieser wunderschönen Kirche.
Ein Foto habe ich als Motiv-Cover für meine Veröffentlichung dieser Komposition verwendet.

Der Bau wurde im Jahre 1882 begonnen und wird voraussichtlich im Jahre 2026 zum 100. Todestages Antonio Gaudi fertiggestellt sein. Somit hätte die Vollendung dieses sacralen Bauwerks 144 Jahren gedauert.
Dies ist für ein derart monumentales Bauwerk eine recht kurze Bauzeit, wenn man bedenkt,
dass die Erbauung des Kölner Doms  vom Architekt „Meister Gerhard“ 632 Jahre bis zur Vollendung benötigte. 

Antoni Gaudi war auch ein sehr gläubiger Mensch.
Seine Vision die Erschaffung eines Sühnetempel der Heiligen Familie.
Auf die Unmöglichkeit einer baldigen Fertigstellung angesprochen, antwortete Gaudi:
„Meine Kunde hat keine Eile“

Auf diesen Satz hin bezieht sich auch meine inspirierte Komposition.
Die Vision eines sacralen Klangwerks.
In diesem Sinne hat auch meine musikalische Arbeit keine Eile.

Vielen Dank für Eure geschätzte Aufmerksamkeit.

Musik :  Björn Cloppenburg  Alle Rechte vorbehalten
Foto	: Jenny Kreibich 
Es wurden für dieses Projekt virtuelle Instrumente der folgenden Firmen verwendet: 
Spitfire Audio : https://spitfireaudio.com  UNION CHAPEL ORGAN 
Soundiron  https://soundiron.com : SONESPHERES Distance
¬¬¬¬¬¬¬¬___________________________________________________________________________

"Holy" "Sacre" "Sagrada" (07/03/2023)


I dedicate this composition to the Catalan master builder Antoni Gaudi and his great building "Sagrada Familia"

A relative told me in amazement about visiting this basilica.
She showed me many beautiful photos of this beautiful church.
I used a photo as a motif cover for my publication of this composition.

Construction began in 1882 and is expected to be completed in 2026 on the 100th anniversary of Antonio Gaudi's death. Thus, the completion of this sacred structure would have taken 144 years.
This is quite a short construction time for such a monumental structure, considering
that the construction of the Cologne Cathedral by the architect "Master Gerhard" needed 632 years to complete.

Antoni Gaudi was also a very religious person.
His vision of creating a temple of expiation for the Holy Family.
Asked about the impossibility of an early completion, Gaudi replied:
"My client is in no hurry"

My inspired composition also refers to this sentence.
The vision of a sacred sound work.
In this sense, my musical work is not in a hurry.

Thank you for your valued attention.

Music: Björn Cloppenburg All rights reserved
Photo:  Jenny Kreibich
Virtual instruments from the following companies were used for this project:
Spitfire Audio : https://spitfireaudio.com UNION CHAPEL ORGAN
Soundiron https://soundiron.com : SONESPHERES Distance
___________________________________________________________________________

Sagrada

the first excerpt from a home session

original composition by 
Marco Lucchi : piano and synthesizers
with contributions from 
Henrik Meierkord : cello

luglio 2023

The Meierkord family came by to say hello to us in this month of July. Henrik and I took the opportunity to play something together. Nothing demanding: a sort of 'warm up', which has become a 'session' in my small living room. We mostly used some 'loops' I had on my JamMan, improvising over them, or even more freely. The recordings are quite 'lo-fi', mainly coming from a dictaphone placed in the center of the room, but we believe they are a good testimony of our musical and human entente and of the pleasure of meeting each other in person. See you soon !!

The Living Room [w/ Henrik Meierkord] first excerpt

Hexfarm is

Phil Bywater - Saxophones/Flutes
Dane Renshaw - Drums
Mat Ward - Bass Guitar/Vox

Track 2 from Hexfarm - who meet once a year to jam for a couple of days then head back to their various corners of the world : )

Cost/Benefit Erection - Hexfarm

New Horizons - Concerto for Trumpet and Chamber Orchestra (2022)
Dedicated to John Wallace CBE with the hugest gratitude and admiration and warmest affection
Bede Williams (solo Trumpet [Trumpet in C, Piccolo Trumpet & Flugelhorn])
St Andrews Chamber Orchestra
Michael Downes (conductor)
Recording of World Premiere, 12 March 2025, Laidlaw Music Centre, University of St Andrews, Scotland
Recording made by Fife College
Film of complete concert available on YouTube: https://www.youtube.com/watch?v=_uCzykyfmH4&t=7s

I was about to move country, to new horizons, and this work grew out of a shorter earlier work as a result. The short piece I wrote for Alison Balsom and the London Chamber Orchestra in celebration of the LCO’s 100th birthday had much further to go. It does so in this concerto. Cast in a single movement but in an almost symmetrical form of seven sections, complete with a cadenza, the work was composed between England and Italy, as I was travelling backwards and forwards from country to country. It strikes a new path in its style, and is, dare I say it, more ‘open’ in its musical language. I have no doubt that the openness of the Italian people and the landscape I knew I would be moving to had an impact on the music’s overall impression. And, of course, being a trumpeter, I wanted to write a solo concerto that responded to the instrument I know most of all, and reflect many of the works and styles I have worked with as a trumpeter. The soloist plays three different trumpets, a standard trumpet in Bb or C, a piccolo trumpet and flugelhorn, which has the most mellow and beguiling of sonorities. 
This work and this performance are dedicated to John Wallace, who was mentor and guide to Bede Williams and to me, and who has done so much to improve the lives of so many through his immense gifts and incredible generosity of spirit. 
© Paul Max Edlin 2025

New Horizons (2022) - live premiere

A small excerpt from a recent Expanded Cinema project by Dani Kirby ( Keyboards/Voice) and Mat ward (Bass), presented Live at MONA FOMA festival 2021 in Hobart, Tasmania. 
Project Synopsis/Media release....

The Smiling Madame Beudet
Germain Dulac, 1923

Kirby/Ward present the the latest chapter in their ongoing investigation both the history of sound in the era of silent cinema and the pioneering role female artists played (most often overlooked) in the avant garde. They have written and will perform a new score for voice, piano and bass to accompany Germain Dulac’s ground breaking 1923 film The Smiling Madame Beudet.
The Smiling Madame Beudet is credited as the first Feminist movie. The protagonist Madame Beudet is trapped in a suffocating marriage with her only escape being music and the fantasy that she lives in a different world. Her husband is domineering, boorish and frequently pretends to shoot himself (sometimes in front of guests) to taunt and belittle her. Far from portraying Madame Beudet as a victim it casts her as a heroine who, rather than submitting to a life of cruelty, seeks to assert her desires and free herself from the bonds of domestic misogyny.
Dulac uses groundbreaking cinematic artistry to embellish and add detail to both the narrative and the investigation of sexism and gendered roles through techniques such as super-imposition, ultra contrasting of focus, slow-motion, repetition of shots, abstraction and extreme camera angles. These techniques powerfully enforce the Dulac’s desire to show both the oppressiveness of the situation and the absolute need for an imagining of a better life.
The compositional approach focuses on highlighting the sub-text and philosophical underpinnings of the film with emphasis on the meta-narrative behind the protoganist’s story - which is a timeless critique of marriage, gender and sexism. Cinematically this is expressed through Dulac’s focus on Madame Beduet’s internal world as she moves between the disparity of escapism and reality. It is her complex voice and thoughts, as a metaphor for the broader issues of the film that Kirby/Ward bring to life through a dynamic score that incorporates multiple genres ranging from ultra minimalist melody all the way to deafening sub-bass drone.

The Smiling Madame Beudet LIVE Dani Kirby/Mat Ward

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.