Whine for Santoor in C and Bass Santoor in C accompaniment (September, 2021)

Composer: Sina Saloor
Performed by Taay Ensemble
Santoor in C: Amirhossein Raoufi
Bass Santoor in C: Hamid Forouzan

Whine

The composition and performance of this piece was made possible thanks to generous financial support from the Vaughan Williams Foundation (https://vaughanwilliamsfoundation.org/funding/postgraduate-bursaries/).

Performed by Ark Ensemble (conducted by Rob Buckland). Recorded at Royal Northern College of Music, 1st December 2023.

This piece attempts to suggest the weirdly specific erotic energy that outsizes the purpose and traditional function of a DIY store. As is the case with some of my other music, this piece is more generally an exploration of the relationship between people, environments and objects, and the way in which people can use environments and objects to make sense of themselves and each other.

A customer idly daydreams about screwdrivers, power drills and allen keys; concurrently, the shop itself attempts to dream a landscape outside itself that it has never seen, and tries (and fails) to imagine a role for itself beyond utility.

Hand Tools, for Ess

In 2024, I travelled to France to study Bouffon (a type of clowning) at École Philippe Gaulier. I am a musician/composer and did this to improve my stage presence, but I learned much more than I had bargained for...

The course was incredibly intense and all-consuming. However, I did find time to record a lot of 'Bouffon' sounds - laughter, giggles, swearing, shouting, and other strange noises. A central part of Bouffon practice is to mock and parody people you hate. Hence, towards the end of the course, I made a short theatre piece about frogs based upon an infamous Alex Jones quotation 'I don't like them putting chemicals in the water that turn the friggin' frogs gay!' To support me, all of my classmates pretended to be frogs engaging in... er.... intimate acts. The theatre piece was a glorious failure, but inspired Frog Buffoons.

Frog Buffoons features an electronics part that combines the Bouffon audio with frog sounds in addition to the noises produced by a French frog children's toy. It is a very strange piece, but the Bouffon course was a very strange experience.

The fixed electronics part is improvisatory in nature, in that the source sounds are recordings of me and my classmates improvising. However, the way in which I used these recordings was also improvisatory; once I had placed a recording into my Digital Audio Workstation, I did not allow myself to delete it. I had to use it and make it work via processing and recontextualising. Finally, the live melodica part (which I play myself) is entirely improvised.

Frog Buffoons

I was recording some material for another composition of mine, just outside Köln Cathedral. There were two dogs yapping at each other; I loved the sound, but it just didn't fit the piece.

I was asked to perform a piece for the Music Patron launch event at the Groucho Club in Soho, London. I decided to make a new work, using a tiny snippet of the discarded dog sounds.

Hand Tools, for Ess

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