Name: For Small Ensemble - Priam David by Priam David
Duration: 10 min 9 s
Description: For Small ensemble is a piece for 6 players. It was premiered at Tanna Hall, in Montreal Quebec, on March 11th. Conducted by Charles-Eric Fontaine.

Our 23rd #StayHome Edition. Stay safe, keep making beats <3

LS_059 - Evan Shay

Headphones recommended for best listening experience

This version was recorded April 12, 2021 at McGill University

For amplified speaking percussion quartet and fixed media.

Performers:
Percussion I - Eric Orosz
Percussion II - Yue-Yin Zhang
Percussion III - Joseph Chang
Percussion IV - Kristie Ibrahim
Conductor - Fabrice Marandola

Included in Electronics:
Guido da Montefeltro (Dante Alghieri) - Simone Cardini
"The women... talking of Michelangelo" - Talia Fuchs, Beatrice Ferreira

Illustration - Federico Zuccari (Dante & Virgil speaking with Guido da Montefeltro in the 8th circle of hell)

This piece is inspired by "The Love Song of J. Alfred Prufrock" by T.S. Eliot and attempts to recreate its progression of poetic images and spaces, as well as their associated affects, in music. Both the musical work and the original poem open with a quote from Dante’s Inferno spoken by Guido da Montefeltro in the 8th circle of hell. One of the quote’s functions is to situate both the original poem and this musical translation within the multi-layered architecture of Prufrock's internal world. Like the nine circles of hell, this musical landscape is characterized by a meaningful orientation. As one ventures deeper and deeper, the distance from external reality grows and the sound-scape becomes increasingly abstract. Closer to the surface, the listener is able to eaves-drop on the outside world, where sounds represent recognizable people, places and things. As Prufrock's existential reverie intensifies, the lines between interior and exterior space grow fainter and fainter.

Till human voices wake us and we drown (2021)

Rappelle-toi Barbara by Lily Koslow (vocals, piano, production)
Lyrics excerpted from Barbara by Jacques Prévert:

Rappelle-toi Barbara
Il pleuvait sans cesse sur Brest ce jour-là
Et tu marchais souriante
Épanouie ravie ruisselante

Un homme sous un porche s'abritait
Et il a crié ton nom, Barbara
Et tu as couru vers lui sous la pluie
Tu t'es jetée dans ses bras

Tu souriais, Et moi je souriais de même
Quand je t'ai croisée rue de Siam
Rappelle-toi, N'oublie pas
Cette pluie sage et heureuse, sur la mer, Sur l'arsenal

Oh Barbara
Quelle connerie la guerre
Qu'es-tu devenue maintenant
Sous cette pluie de fer
De feu d'acier de sang
Et celui qui te serrait dans ses bras

Rappelle-toi Barbara

This piece has been composed as part of the ACTOR Project (https://www.actorproject.org)
live recording on May 4th 2021 by :
Jeanne Côté, Violin
Martin Daigle, Percussion
Eric Bourgeois, Trombone
Matias Perinetti-Paniagua, Bass Clarinet
Charles-Eric Fontaine, Conducting
Recording : Yangwanqing Zhou, Ying-Ying Zhang & Martha DeFrancisco
Thank you to : Ryan Cass (Trombone) and Elia Foster (Bass Clarinet)for their creative input

...for narrow is the door... (03/2020)

Temenos
A site-specific collaboration between composer Nina C. Young and choreographer Miro Magloire (New Chamber Ballet)addressing the union of architecture, movement, and sound at the Tempietto Del Bramate.

Project supported by the American Academy in Rome, 2016 Cinque Mostre curator Ilaria Gianni, and the Real Academia de España en Roma.

Premiere performance - March 3, 2016, Tempietto Del Bramante at S. Pietro in Montorio:
Elizabeth Brown and Daniela Giannuzzi, dancers
Miro Magloire, choreographer
Nina C. Young, violin and electronics

Temenos (2016) for violin and electronics (and dance)

premiered via Earmilk

http://earmilk.com/2017/03/07/tibe-and-senojnayr-bring-the-tropics-to-the-club-premiere/

@senojnayr

photography by @yungbrtrnd
artwork by @jvkeclarke

download

Tibe - Hey (feat. Senojnayr)

Multi-track recording by members of Ensemble Dal Niente.
Recording/Mixing: Igor Santos

video of premier: https://vimeo.com/387611594#

"Patina" progresses from a volatile mass of percussive sounds towards its tainted reproduction. A flickering and multi-colored mixture of noisy and pitched gestures.

The "Zoetrope" pieces mix together disparate elements in teeming masses to see if they can be made to sound as one. How does their coming together and falling apart enrich or erase the individual motifs' identities? And which of their qualities do the individual motifs end up contributing to the whole? The Zoetrope series is inspired by the pre-cinematic animation device the "Zoetrope" and emulates its achievement of cohesion through speed, varied imitation and repetition.

Composed May/June 2019 (Baltimore)

Zoetrope V: Patina (2019)

Amidst [2019]

Piano I: Paul Çelebi
Piano II: Olivier Rabu

"Neige" d'Anne Hebert: http://www.barapoemes.net/archives/2016/09/07/34290920.html

Program Note:
Cent traces, sur de vastes plaines was inspired by Anne Hébert's poem "Neige" (snow). Submerged in its poetic image, the music follows its emotional trajectory and attempts to embody it through a language of resonance, harmony, and temporalities. The work was also peripherally influenced by the novel "Kamouraska" by the same author. Both texts depict a wintery dream-scape that devolves into a fever dream peopled with hazy memories. The opening five minutes contain three musical dreams composed using a collection of altered paraphrases from other piano pieces 'about' snow. These quotations appear the way characters in these dreams do: one might have an idea of who they represent from daily life (memory) even if for some reason they do not fully resemble that person. Over the course of the piece the boundaries between dreams erode and the recurring characters' identities become increasingly distorted. Musical memories appear, disappear and intermingle, culminating in a blurred mass and then a rupture.

Commissioned by the Luba Zuk Piano Duo Composition Competition.
Performed November 11th, 2019, Tanna Schulich Hall, McGill.
Composed January-May 2019 (Montreal/Baltimore).

Note de Programme:
Cent traces, sur de vastes plaines est inspiré du poème "Neige" d'Anne Hébert. Submergée dans son image poétique, la musique suit sa trajectoire émotionnelle et tente de l'incarner dans un langage de résonances, d'harmonies, et de temporalités. L'oeuvre a aussi été influencée par le roman "Kamouraska" de la même écrivaine. Les deux textes décrivent des rêves hivernaux qui s'écroulent et deviennent des rêves fiévreux éveillant d'ambigus souvenirs. Les cinq premières minutes contiennent trois rêves musicaux, chacun composés d'une citation altérées d'autres pièces pour piano 'au sujet de' la neige. Ces citations incarnent la façon dont ces personnages habitent ces rêves: on sait qui ils représentent dans notre vraie vie même s'ils ne se ressemblent pas exactement. Au fur et à mesure les frontières séparant ces rêves se déconstruisent et les identités de ces personnages se tordent. Les souvenirs musicaux apparaissent, disparaissent et se mélangent, menant à une masse nuageuse puis une rupture.

Pièce commandée par le concours de composition pour duo de piano Luba Zuk. 
Interprétée le 11 Novembre 2019, Salle Tanna Schulich, McGill. 
Composée janvier-mai 2019 (Montréal/Baltimore).

Cent traces, sur de vastes plaines (2019)

This short electroacoustic piece was developed during the COVID-19 lockdown months, and was motivated by those remarkable circumstances. As the world came to a halt, with the music industry unable to function in its usual way, I struggled to find the will to write pieces for the concert hall as the thought seemed so foreign in that new reality. The release of free temporary Max licenses by Cycling ˈ74 inspired and enabled me to create a piece that despite the difficult situation, could be shared easily and played from devices at the “audience’s” own homes.

Another important thing for me was to be able to work with other people, and this collaborative intention was at the core of the piece’s conception. The sonic material is derived exclusively from a series of explorations of different sounds and techniques by bassoonist Olivia Palmer-Baker, and the recordings of those short improvisations. This collaborative approach was something new for me, and allowed me to re-examine composer-performer relationships by inverting the usual work process, in which the composer creates material that then the performer interprets and shapes into a finished product.

Fixed electroacoustic stereo work, developed through Max.

A landscape for Olivia

For Small ensemble is a piece for 6 players. It was premiered at Tanna Hall, in Montreal Quebec, on March 11th. Conducted by Charles-Eric Fontaine.

For Small Ensemble - Priam David

Priam David

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