War For Blue Star

Iannis Xenakis
"Terretektorh", pour quatre-vingt-huit musiciens éparpillés dans le public (extrait) 
Orchestre du Conservatoire de Paris
Ensemble intercontemporain 
Matthias Pintscher, direction

Enregistré en direct à la Cité de la musique le 18.03.2022

Iannis Xenakis, Terretektorh (extrait)

Au premier plan, le régulier Blongios nain, et les grinantes Rousseroles turdoïdes. Au second plan : Loriot d'Europe, Huppe Fasciée, Rossignol Philomène (...?)

Lac du Salagou
Micro AT4041 ORTF et Mixpre-6

Blongios nain et rousseroles turdoïdes dans les roseaux du lac du Salagou

画像のす●っコぐらしはなんら関係ありません

2曲目です！昨年でいう赤枠なのかな。ヌガーから一年、ろわいのお菓子曲がぱわーあっぷして帰ってきたぞ！
ズバリ今年のテーマはアイス！アイスブレイクにアイス食べて仲良くなろうという魂胆さ！

という感じでよろしくお願いします。

アイスブレイク・アイスパーティー

Listening in a very quiet environment, or at a very quiet time, preferably with good quality headphones, at no more than a moderate volume, is very much recommended. These sounds of late summer dawn in Mallee country were widely dispersed. The original recording level was 60 dB, with a further 12 dB gain in post. Listening at a low to moderate volume will more faithfully re-present the original soundscape experience. Please refer to the Playlist description for some background information: https://soundcloud.com/hearingbeings/sets/2023-02-19-quiet-dawn-of-souls-mallee-country-late-summer.

At first light, the dawn songs of Spiny-cheeked Honeyeaters predominate, gracing the early dawn soundscape with a beautiful yet melancholy quality. Also occasional Owlet Nightjar calls (which have continued all through the night), Grey Butcherbirds, a couple of Emu 'drummings', some distant Ravens, amongst others; and, in the distance, briefly, a couple of strays that ought not to have been there at all.  Throughout, the sound of the wind rising and falling, through Mallee woodland of Eucalyptus and Casuarina trees.

Recorded respectfully on the land of the Meru and Danggali peoples.

@bandcamp

2023.02.19 Quiet Dawn of Souls (First Light)

Snippet from the bass solo from Sonny Stitt's 1964 release of 'Now's the Time' - Bass Richard Davis, Drums Connie Kay ...

Iterative limiting (towards the left) and distortion (towards the right) ...

More on this 596th weekly Disquiet Junto project, Phylogeny Junto (The Assignment: Depict genres’ evolution over time in music), at: https://disquiet.com/0596/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0596-phylogeny-junto/

folly hang hype

halF phylogenY [disquiet0596]

This track was created for the Naviar Haiku group.
505
https://www.naviarrecords.com/2023/09/06/naviarhaiku505-in-search-of-a-name/

2023-09-07

In Search Of A Name  (Naviarhaiku 505 )

In a summer night in Morvan, a duet of two tawny owls with great green bush crickets and wood crickets.

Tawny owls duet in summer - recorded in Morvan (France) w/ Gregoire Chauvot

Written for Goska Isphording&Maciej Frąckiewicz and commissioned by the Musical Aspiration Foundation (PL), co-financed by the Ministry of Culture and National Heritage of the Republic of Poland (programme Composing Commissions, implemented by the Institute of Music and Dance) with the support of the Lithuanian Composers’ Union.

In this piece two instruments of a very different or even opposite origin and acoustic nature are melted into a monolithic “monochrome” mechanism, as if constructing a utopian instrument with characteristics of the harpsichord and accordion. The idea of such composition came from a play on words, only changing a sequence of letters in an English name of the harpsichord: harpSIchord – harpISchord. “Harp” is being read as an arpeggio (e.g. a technique asking to play chord notes in succession upwards or downwards), while “chord” is perceived as a synchronous entrance of all the chord sounds together. In this piece the two indivisible phases of sound – sound attack and resonance – are being separated in a sense of timbre. The first one is obviously assigned to the harpsichord, which naturally has almost no resonance, and the second one clearly belongs to the accordion, dynamically raising sounds from the silence. By the way, the principle of duality/opposites is expressed also through a special use of double keyboards which both instruments have whilst the diatonic white-keys harmony comes from the “eolian (wind) harp” sound.

Justė Janulytė

At van Abbe Eindhoven

"Harp is a Chord" for harpsichord and accordion (2016)

For Piano, Accordion, Choir And Orchestra
Recording performed by Nicholas Hodges, Rolf Hind, Teodoro Anzellotti, SWR symphony orchestra and the SWR Choir.

Commissioned by ARD & BMW MusicaViva Composition Prize.
First performed 17 October 2004, Donaueschinger Musiktage, by Nicolas Hodges, Teodoro Anzelotti, and the SWR Vocalensemble and Sinfonieorchester, conducted by Hans Zender

Rebecca Saunders: Choler, Crimson, Miniata

Miniata (2004)

You can also listen at Spotify at: https://sptfy.com/ASotTHotN

Thanks for listening!

A Station of the Third Heaven of the Nations

Berlin-based British composer
www.rebeccasaunders.net

Miniata (2004)

Rebecca Saunders

Related tracks