look dave, I can see you're really upset about this
I honestly think you ought to sit down calmly
take a stress pill
and think things over

sub-routine C1 532/4

qui, dove mezzo son...
for flute solo + 8 performers [fl. sax. tbn. acc. pno. 2perc. elec.gtr.]

PREMIERE: 6 June, 2014 at Musik-Akademie Basel by Ensemble Zone Experimental, Anja Brezavšček, flute, Mike Svoboda, conductor
SCORE: www.babelscores.com

'qui, dove mezzo son...' for flute solo & chamber ensemble (2014)

Music for percussion and electronics.

These are excerpts from a CD released on Mytoeses Music

Saariaho - Six Japanese Gardens Mvt 3 (ND, percussion)

SINCRONIE REMIX
Concorso Internazionale di Composizione e Produzione musicale

Fausto Romitelli nell'alto dei giorni immobili (M16 remix)

A composed improvisation with Megan Lee Karls on violin and Wilhelm Matthies on kokeka (also composition and mixing). 

RiverFoot-CicadaSinging (Megan Karls-Violin, Matthies-composition, Kokeka, mixing)

broken 
--for two pianists and two percussionists 
--first performance: yarn|wire, New York, April 16, 2016

--

« That’s how it came about, but more disturbingly, more electrically, more fantastically. I will never know how to talk about it. It seethed, it froze. Furious, impetuous, tense, immobile, explosive, before me, for me, through me. The disturbance was great. The void was immense. There was intensity, there was paroxysm, there was dislocation, there were many minuscule sabotages, there was disorganization. However, there was always a very strained organization in the background, ready to burst. In the meantime, incredibly present. In its element, a formidable demonstration of the prodigious life of the mental state that could not stop. And yet it stopped. In the most abstract way, all of a sudden, sometimes an element, rarely the most important one, hung in abseil of a memory-situation or several pictures in a row as though ricocheting, suddenly talking indecipherable non-sequiturs, striking and empty, nonsense that astounds and usurps. Displaced. Diverted. A mirror broken a thousand times, frightened, listening. Not wanting to be lost. Never quite submerged. Shot in the head. Silent fire of photons. I know now. I know. The line that perverts, that drags you along. I know. pf pf pf pf pf. Thought stoppers, particles of momentum. » – fragments adapted from Henri Michaux’s Paix dans les brisements and Vigies sur Cibles.


BROKEN

OPERATION FIRESIGN

burden

Christopher Narloch performs Philip Glass solo piano etudes book 2, #11-20 recorded live

Philip Glass Piano Etudes 11-20 Vol 2 live

Juanita Nielsen is a work for  2 violas, 2 cellos, piano and electric guitar.  The score is presented on 6 networked tablet computers, which at a point begin to select random points that are synchnronised amongst the ensemble. Juanita Nielsen was a woman active in Sydney in the 1970s, and whose disappearance was never investigated in a timely manner due to police corruption in Australia at that time. The performance is of its premiere, by the Decibel New Music Ensemble.

Juanita Nielsen

3rd Annual Melos New Music Concert, Philadelphia - Dec. 7 2012
ensemble39 - Live performance recording
Alexandra von der Embse, oboe
Jessica T. Chang, viola


Program Notes:

Narcissus Chamber began with pondering the Narcissus and Echo myth. Though Narcissus’s folly is explained visually—it is his reflection in the water—the other senses are less defined. According to the myth, what he hears is Echo, a being distinct from himself. In reality, he is hearing himself reflected in the same way he sees himself in the water. I began to imagine Narcissus as not a person that merely constructs a reality centered around himself but as someone who is incapable of experiencing physical reality. Narcissus is a captive in his character, the casualty in a war between the id and super-ego – the viola and oboe. The steadfast oboe repeats the narcissistic mantra, reinforcing itself with each pass. The impulsive viola echoes this melodic loop, attempting variation futilely. Both voices rest briefly, allowing a moment of reflection and self-awareness before both begin again, reconstructing the same resonant chamber of reality. 
– Brian Penkrot


For more information, please visit: 
http://www.brianpenkrot.com
http://www.melosmusic.com
http://www.ensemble39.com


sub-routine C1 532/4

Penkrot

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