electronic/fixed-media

“transmission”, for electric guitar and live electronics 
(1996-1999)
By Richard Barrett

Mauricio Galeano - electric guitar 
Santiago Bogacz - live electronics in Csound

Recorded by Gonzalo Varela and Leonardo Croatto on August 19 of 2022 in Facultad de Información y Comunicación, Montevideo, Uruguay

Mixing by Santiago Bogacz 

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Este material fue producido en el marco de la Universidad de la República, Unidad Académica Asociada entre la Facultad de Información y comunicación y la Facultad de Artes

Richard Barrett - transmission

Written for the BBC Scottish Symphony Orchestra

Memex (2014), for symphonic orchestra

full album: Aftermaths - piano works by Mark R Taylor
performed and produced by Teodora Stepancic
https://anothertimbre.bandcamp.com/album/aftermaths

live at 
...between silence... 
Hateiva, Tel Aviv-Yafo, July 17th, 2014
recorded by Assaf Gidron

Mark R Taylor Aftermaths

07 Chrome III

electronic composition from "Opening of the Mouth"

Zungenentwurzeln (1997) electronic music

recorded live at Schoenberg Zaal, den Haag, 2010

Crowd for solo harp by Harrison Birtwistle

Air mechanics for flute,  clarinet in B, perc(1)., piano, violin and cello (2005) (Kyiv Camerata recording) 

Alla Zagaykevych: Air mechanics (2005)

Grapefruits:
Susanne Peters - flute
Miao Zhao - bass clarinet
Gilles Grimaître - piano

live @ HKB Grosser Konzertsaal 02.06.2017

Richard Barrett - What Remains (1990-1991)

Sonata Nr.8, for electronic sounds (2016-17)

Sonatas for electronic sounds(2016-2018) is a series of twelve pieces for electronic sounds. The pieces are made exclusively from synthesized sound and aim to translate a kind of instrumental gestural writing into the electronic medium.

https://404notlabel.bandcamp.com/album/sonatas

Sonata Nr. 8, for electronic sounds

Sonic Arts Research Centre, Queen's University Belfast, 18.01.2018

Two of the leitmotifs running through my work are the effect of time on memory and perception, and the creation (however illusory) of a fragile continuity from discontinuity. My large-scale ‘Traces’ Cycle for solo flute (1991-2006) is perhaps the best illustration of the former tendency, while the latter is typified by Music for 25 Solo Strings (Epitomaria-Glosaria-Commentaria) and åNeM (1996) for solo piano.

Like Music for 25 Solo Strings and åNeM (based respectively on a motet by William Byrd and an organ work by the 17th Century Neapolitan composer Giovanni Maria Trabaci), this piece makes use of pre-existing musical material.  In this case, seven fragmentary and radically differentiated versions of the Andante from C.P.E. Bach’s 4th Württemberg sonata are segmented and interleaved. Their juxtaposition creates the impression of an object viewed from different angles, different distances and different perspectives, prompting a constant revaluation of an original, which remains tantalisingly out of earshot.  

I also like to think that the piece is not simply an acknowledgement of my long-standing interest in C.P.E Bach, but can be seen as a symbol of the welcome critical re-interpretation of his music over the past 50 years, as well as recognising his well-documented interest in philosophy, aesthetics and music theory. 

The piece is dedicated to Pavlos Antoniadis.

James Erber: Elided Dilapidations (after C.P.E. Bach)(2014-2015)

Remote home improvisations, recorded and mixed in April 2020 

Marina Džukljev, piano
Manja Ristić, violin
Ivana Grahovac, cello
Milana Zarić, harp

Richard Barrett, audio mix

Katasterismoi (1999) electronic music

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