bravo again! the use of the drums and the electric violin seemed to make you want to use harder contrasts! very nice!  WM

Performed by Fanny Vicens, accordion.
Recorded live at soyuz21 concert, «De l'excès du son», Zurich on June 4, 2014

Franck Bedrossian – Bossa Nova for accordion solo (2008)

Lois V Vierk – Red Shift for cello, electric guitar, percussion, synthesizer and sound engineer (1989)

Performed by Séverine Ballon, cello, Mats Scheidegger, electric guitar, Brian Archinal, percussion, Simone Keller, synthesizer and Gary Berger, sound engineer 

Recorded live at soyuz21 concert, «De l'excès du son», Zurich on June 4, 2014

Lois V Vierk – Red Shift (excerpt)

STIGMA - Concertino for E-Violine and Ensemble (2009)
Composed by Pèter Kőszeghy
Played by Ensemble Junge Musik, Berlin
E-Violine - Susanne Zapf
2009 Berlin

Pèter Kőszeghy: STIGMA Concertino for E-Violine and ensemble (2009)

'Evoke' appears in a behind the scenes video for Alexia Sinclair's tableau of Edward Jenner for ’The Art of Saving a Life’, commissioned by the Bill & Melinda Gates Foundation.

https://www.youtube.com/watch?v=wOvFyUqOaag

’The Art of Saving a Life’ is an initiative that combines art and public health to raise awareness and funding to vaccinate millions of children in developing countries. 

The campaign is a collection of stories on the success of vaccines throughout history, told by over 30 world-renowned artists.

More information on the project can be found at: 
• http://artofsavingalife.com
• http://www.nytimes.com/2015/01/07/arts/design/gates-foundation-uses-art-to-encourage-vaccination.html
• http://www.huffingtonpost.com/dl-cade/this-hauntinglybeautiful-_b_6537890.html

'Evoke' also appears in 'Moed', a short film by David Dang. Filmed in Cape Town, South Africa and starring actor Lunga Tshuka.
https://vimeo.com/122980348

LP/DL - OUT NOW

Steve Gibbs - Evoke

Premiered by Ensemble et cetera  (Dustin Donahue, marimba; Curt Miller, clarinet; Scott Worthington, double bass) at Conrad Prebys Music Center - Recital Hall. October 10th 2014.

Program Notes

The prefix intra- signifies ‘within’ or ‘between layers of’, hence the title intrascaling means between layers of scaling and is a reference to the use of durational ratios of attacks, that control the rhythmicity and permeate various compositional aspects of the work, at various temporal levels by means of scale invariance. I am very interested in the conflict between variance and invariance among different—two, three, or even more—superposed rhythmic structures. I find very appealing the fact that, the antagonistic relationship of such perpetually interwoven rhythmic structures and their metric ambiguity results from a limited number of sets of invariant data, each one set independently in motion from the others, at different scales.

The texture of Intrascalings is based on a constant flow of rapid pulses that is confronted by multiple, polyrhythmic temporal streams of different and varying densities. The contrasting timbres that have been assigned to the layers of the design, as well as their different registral positioning create an effect of independent intrwoven lines, which are in constant conflict with one another, thus maintaing an intense and, at times, escalating energy plain until the end of the work. 

The pitch domain, on the other side, is governed by an additive and combinatorial generative process, which takes a few germinal cells as input and engenders inexaustible variants at the output. Cyclic patterned recurrences of patterns, that share the same underlying structure, unfold in time, elaborating centripetally on the the same structural complex again and again, creating, maintaing and exalting one or various states from a single or from a variety of perspectives.

In this work I make extensive use of algorithmic routines that have been implemented in the frame of the research project Patterns of Intuition at the Institute for Electronic Music and Acoustics at the University of Music and Performing Arts at Graz, Austria. 

Intrascalings (2014)

I    Intonazione
II
III  Resonancias

Barry Crawford, flute; 
Peggy Pearson, oboe; 
Benjamin Fingland, clarinet; 
Adrian Morejon, bassoon; 
Pat Pridemore, horn; 
Gareth Flowers, trumpet; 
Benjamin Herrington, trombone; 
Chris Oldfather, piano; 
Pablo Rieppi and Matt Gold, percussion; 
Adda Kridler and Miranda Cuckson, violins; 
Lois Martin, viola; 
Joshua Gordon, violoncello; 
Doug Balliett, contrabass.

Conductor: James Baker

Wellesley, Summer 2014

Varietas for fifteen players, Diego Tedesco (2014)

Lines (2016)
Michael Vincent Waller

Trajectories 
CD on Recital, Sept. 8, 2017

R. Andrew Lee (piano)
Seth Parker Woods (cello)

http://michaelvincentwaller.com/trajectories/
---

Trajectories is the second full-length album by Michael Vincent Waller, featuring pianist R. Andrew Lee and cellist Seth Parker Woods. The album will be released on September 8th, 2017, on Sean McCann’s Los Angeles based label, Recital. The CD edition includes photography by Phill Niblock, liner notes by "Blue" Gene Tyranny, and mastered by Denis Blackham. 

Michael Vincent Waller is an American composer based in New York City. His music has been described as lyrical and introspective, drawing inspiration from impressionism, post-minimalism and world music. The work situates these familiar elements within decidedly unconventional and individual frameworks.  

Waller's practice has been cultivated through private study with La Monte Young, Bunita Marcus, and with Elizabeth Hoffman as an undergrad at NYU.  He has since collaborated with a number of noted soloists and ensembles including S.E.M. Ensemble, Ensemble Dedalus, String Noise, and members of the FLUX Quartet. In 2015, Phill Niblock's XI Records launched Waller's acclaimed 2-disc recorded debut, The South Shore, which compiles a number of solo and chamber works spanning 2011-2014.

Compared to Waller's debut, which offered a panorama of different instrumentation and approaches, Trajectories is more introspective and focused, working only with piano and cello through a personal language that is often intricate and spacious.

Pianist R. Andrew Lee is renowned for his performances of minimalist work. He has released twelve albums, including many long-form piano recordings on his label Irritable Hedgehog, including November by Dennis Johnson, which was selected by Time Out New York as the best classical recording of 2013. 
 
Cellist Seth Parker Woods has established a diverse career that straddles the worlds of classical, contemporary, electronics and performance art. He worked with artists ranging from Heinz Holier, G.F. Haas, and Klaus Lang to Peter Gabriel, Sting, and Aldo Tambellini.

Lines ~ Trajectories

Dreaming Cadenza (2016)
Michael Vincent Waller

Trajectories 
CD/LP on Recital, Sept. 8, 2017

R. Andrew Lee (piano)

"This limpid melody provides us with a  moment of gentle reflection somewhere between waking and sleeping" 
            - "Blue" Gene Tyranny, in the liner notes of Trajectories

recitalprogram.com/trajectories
michaelvincentwaller.com/trajectories

Trajectories

Dreaming Cadenza ~ Trajectories

Commissioned by ilSUONO Contemporary Music Week for ensemble Il Suono Giallo. 

Performed by Ensemble Suono Giallo, Italy:  Andrea Biagini, flute; Michele Bianchini, saxophone; Laura Mancini, percussion; Simone Nocchi, piano

Program Notes

“…risuona piu lontano che mai” is a work shaped and, at the same time, fractured by the brevity of its mnemonic fragments, which reappear in manifold and often distressing reocurrences and insistent retrospections through a series of regenerations and rearrangements of the material. Echoing the strangeness of an indescribable sound, these mnemonic fragments are advancing and regressing non-linearly, in stumbles and stutters, uncertainties and hesitations. They are treated as, what Deleuze (and Guattari would call, blocks of becomings in contemplative and non-hierarchical dialogues with one another. As something happening in the process,  in intimate intimacy.

"A becoming is always in the middle; one can only get it by the middle. A becoming is neither one, or two, nor the relation of the two; it is the in-between, the borderline or line of flight… If becoming is a block (a line-block), it is because it constitutes a zone of proximity and indiscernability, a no-man’s land, a non-localizable relation sweeping up the two distant or contiguous points, carrying one into the proximity of the other - and the border-proximity is indifferent to both contiguity and to distance." Gilles Deleuze and Félix Guattari, A Thousand Plateaus. Capitalism and Schizophrenia, trans. Brian Massumi (Continuum, London and New York, 2003), p. 293.

“…risuona piu lontano che mai” (2018) for flue/bass flute, soprano saxophone,  percussion, and piano

Live Recording Worldpremier HEAT WAVE by swiss composer oliver weber for Cello, Saxophon, Keyboard, Electric Guitar and Electronics

oliver weber - heat wave

'Reflection' has been used as the score to Luka Kellou's short film 'Je suis Là', which made it through to the finals of the 2014 Nikon Film Festival (http://vimeo.com/90820159)

Track taken from our debut release 'In Passing EP', available now via Bandcamp and iTunes.

http://stevegibbs.bandcamp.com/album/in-passing-ep
https://itunes.apple.com/gb/album/in-passing-ep/id669727687

Piano - Steve Gibbs
String arrangement & electronics - Cyrus Reynolds
Violin - Alanna Tonetti-Tieppo 
Viola - Oakki Lau 
Cello - Laura Hammonds

Buy This Track

Steve Gibbs & Cyrus Reynolds - Reflection

Pèter Kőszeghy, *1971 in Hungary, Balassagyarmat.

Kőszeghy studied composition with Paul-Heinz Dittrich and electronic music with Andre Bartetzki at the HfM "Hanns Eisler" Berlin. Since his diploma in 1999 he lives in Berlin as a free-lance composer. Many of his compositions were awarded with prizes and played at festivals as Ultraschall Berlin, Ensemblia Mönchengladbach, Randspiele Zepernick, Tongyoeng International Music Festival Korea and AdeVantgarde Munich. Interpreters of his compositions were the Helsinki Philharmonic Orchestra,
MusikFabrik NRW, Kammerensemble Neue Musik Berlin, Ensemble Zagros, Finland,
Ensemble Aleph, France and as soloists f.e. Camilla Hoitenga, Peter Veale.

As a composer Kőszeghy doesn’t belong to any kind of aesthetic group. His musical speech often has an exciting and offensive effect. The energy inside the music produced during the performance is the most important motive in his compositorial work, in which he wants to destroy the borders of conventions. Köszeghy’s intention of "plumbing the depths" of instrumental techniques by the virtuosity of his compositions never means the end in itself but always obeys concepts of overriding importance which support the energies in his works. Many of Köszeghy’s compositions are inspired by mythology: the Greek antiquity is as important as the ancient Hungarian "Shaman"-Wisdom, with which he goes back to his own roots in the Hungarian culture.

Pèter Kőszeghy: STIGMA Concertino for E-Violine and ensemble (2009)

Pèter Kőszeghy - Composer

Recent comments

Wilhelm Matthies

Related tracks