Programme Notes:
This work is inspired by the impression and aesthetic experience from the view of the
Barracuda Series paintings. The artist analyzes the material object of the painting, starting
from the phenomenon of a school of Barracuda fish in the sea. Then from seeing the shape
of the painting, the artist gets an impression that it looks like a tornado in the sea. In
addition, from the painting, the artist gets a natural impression from the aspect of choosing
repeated shapes with different scales and color gradations that give a fresh impression.
Although the barracuda fish seems to be one of the fiercest fish, but with such a form it has
an impression that is contradictory to reality.

In artistic projection, the artist tries to transform the subjective impression into a
musical expression. This transformation will be realized in the form of reinterpretation of
innovative musical works. Aspects that become transformative materials include the
presence of a navy blue color that will be applied to the use and processing of open and
bright dissonant harmonies between instrument sounds that give a fresher impression. In
addition, the shape of a school of fish that forms like a tornado in the sea will be
transformed in repetition and the density of the rhythm is getting denser and denser. The
asymmetrical circle shape will also be transformed by the artist in changing the bar and the
polyrhythm in the accent of his musical playing. The artist also uses several technical
extensions on the chosen instrument to produce sounds with different musical impressions
and gestures that have distinctive characteristics.

The embodiment of the musical work will be written on the choice of trio instrument
based on the submission guideline call for scores-borneo ensemble composer series.
Instrumentation used include Violin, Piano and Kalimba. The artist hopes that the form of
the music produced can be connected with the Barracuda Series paintings, both in terms of
music and the aesthetic value contained in it. So that when painting and music are
appreciated together, they will support each other's presentation and have relevant ideas to
further enrich the aesthetic experience of the appreciators.

IG : @anggaraarama (https://www.instagram.com/anggaraarama/) Fb : Rama Anggara (https://www.facebook.com/anggaraarama/)

Borneo Ensemble
Violin: Lee See Ling @ Grace
Kalimba: Neo Nai Wen
Piano: Tham Horng Kent
Conductor: Lee Chie Tsang Isaiah

Recordings by Yii Kah Hoe
Mixed and Mastered by Yii Kah Hoe

Tornado In The Sea by Rama Anggara (excerpt)

Based on a Greek Byzantine hymn from the Orthodox funeral service the piece is inspired by the passing of the human soul and its separation from the body.

Composition- Electronics: Sophia Bardoutsou

Azhar Quartet
Soprano: Hanna Aïlane
Alto: Edurne Ruiz
Tenor: Hugo Maillé
Bass: Guyon Mingelen

Organ: Matthijs van der Wilt
Drums: Panayiotis Hadjithomas

Audio Recording/Mixing: Laurens Voois
Oud-Katholieke Paradijskerk
Rotterdam

Transcendence

Commissioned and performed by Prague Quiet Music Collective

Part of a project called 'Five Uncertain Situations' with Prague City Gallery. Exhibition and concert at Dům U kamenného zvonu (Stone Bell House), Old Town Square, Prague in December 2022.

Bass clarinet - Anna Paulová
Baritone electric guitar - Ian Mikyska
Violin - Milan Jakeš
Double bass - Luan Goncalves

Mixed by Juraj Mišejka

This piece was written in response to a set of photograms from Aleksandra Vajd’s The Thirty-Six Dramatic Situations, which features two parallel lines, each changing colour halfway. To me this work is about things in flux, things moving toward or away from something else. In my piece, I am interested in how players might focus on periods of instability and change within and between sounds. By leaving the score more open, I hope to provide more space for the players to follow their curiosity and their ears, to be responsive to the sounds and to each other in the moment. - SL

"Sylvia’s piece is a rare occurrence: a simple, relatively undefined score that does not provide instructions for formal development over the entirety of the piece, yet immediately, the first time we rehearsed it, it was clear that the piece had a clear-cut character and a complex web of internal relationships. The simplicity and directness of Vajd’s photograms is here transformed into a focus on all the chaotic and noisy shadows, interferences, and byproducts that appear when players are tasked with exploring well-chosen, fluctuating effects and various transitions between them. Here, instability is always present at multiple levels — perhaps we could even speak of an interaction between instabilities, a dusty sonic layer covering the simple material play of the photograms." - Ian Mikyska

Overlapping Transformations (2022)

This is the second work of the “Anti-rhythm” series. The concept of “anti-rhythm” stems from the fact that the duration interval between two heartbeats while breathing is never the same. In spoken language, each word has different accents and lengths. Nature suggests to us that real rhythm does not entail a mechanical repetition of equal durations, but it follows a more complicated pattern of development. In the second work of the “Anti-rhythm” series, I am reimagining the material of the folk song “Yimeng” from the Shandong province through the Chinese concept of the unique “ 散 板 (Scattered)”. The “ 散 板 " indicates that there is no fixed beat or sectional divisions in the piece. The phrasing is composed by accordance with tension and release patterns formed with naturally. Moreover, in the selection of rhythm, unconventional rhythms such as triplets and quintuplets are used throughout the entire work.
This piece was premired at Jan 21, 2022.
Violin: Bowen Chen

Anti - Rhythm II: Explore'YiMeng'--For Violin solo(2021)

Ko-Lho (1966) - Giacinto Scelsi
Fie Schouten clarinet & Tarmo Johannes flute
live recording concert 23.11.2024, Tallinn, Estonian Centre for Contemporary Music (ECCM, eccm.com)

Giaccinto Scelsi - Ko Lho

Commissioned by the YPF Competition, live performance by the winner, Paul Salard.

Lock, Stock, and Barrel (2025)

Group : Gamelan Naradha Gita, Banjar Jambe Kerobokan, Badung.
Musisi : Gogon, Mang Adi, Kadek Sumanjaya, Ida Bagus Wittaka
Info : @nagi_bali (instagram), www.nagibali.com, aryadeva95@gmail.com (gmail)

Katak Ngongkek - Naradha Gita (#NAGi)

for Piano and electronics through transducers 
Mariangela Vacatello, piano
Mike Solomon, sound design
12.06.2017 Festival MANIFESTE-Ircam - Paris - Centre G.Pompidou        live recording

Entr'ouvert

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble - live-recording

This work explores the micro-synchronicity within a pulsation to create timbral and musical situations that are:
organic and/or synthetic,
mechanical and/or lyrical,
symmetrical and/or asymmetrical,
integrated and/or separated,
on-the-beat and/or off-the-beat,



Performers: Turning Point Ensemble
Conductor: Owen Underhill
Electronics: Anthony Tan

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble

Recording from the world premiere of VÍDDIR, February 19th 2020 in Grundtvigs Kirke, Copenhagen.

Performers:
Bass Flute 1: Björg Brjánsdóttir
Bass Flute 2: Marie Sønderskov
Bass Flute 3: Flavia Huarachi
Bass Flute 4: Sofia Kayaya
Bass Flute 5: Beata Preisaite
Alto Flute 1: Steinunn Vala Pálsdóttir
Alto Flute 2: Marina Cyrino
Flute: María Ösp Ómarsdóttir
Piccolo: Christine Elizabeth Clancy
NEKO3: Fei Nie, Kalle Hakosalo, Lorenzo Colombo
Bass Guitar: Skúli Sverrisson
Double Bass: Bára Gísladóttir

Recording: Alma Hede and Yangyadi (Chloe) Deng
Mix: Ragnheiður Jónsdóttir

Photo: Therese Precht Vadum

Eden

Philemon Mukarno Composer

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