100 guitars! is there a point where the sound cannot get any bigger - say with 10 guitars? Is 100 guitarists a spectacle, or is there a difference in sound between say, 25 guitars and 100 guitars?

_NlTe //

Disorder (Joy Division)

RS 7000 my love II

Listening to the chaconne is as rich and layered an experience as the story behind the music. Whatever meaning you ascribe to the chaconne — personal, civic, divine, or none at all — it's certain to leave its mark.

Johann Sebastian Bach's chaconne has been arranged for nearly every instrument: from the ominous-sounding organ to the solo flute or the delightfully sparse marimba. Or, listen to these renditions by an enterprising clarinetist and an equally ambitious saxophonist. Or how about this menacing arrangement for trumpet and orchestra and this lyrical performance by two cellos. There is truly an arrangement for everyone.

But it's something spectacular when a great violinist performs the chaconne.

Tim Fain's live performance during Krista's conversation with Bernard Chazelle at WXQR's Bachstock is no exception. Before a full house at The Greene Space, he played Bach's chaconne, the fifth and final movement from Partita No. 2. As our executive editor Trent Gilliss observed, "It's a rarity and a privilege to be able to listen to a 15-minute violin solo without an orchestra." Especially a great performance like Tim Fain's, who is known for his electrifying recordings in Black Swan and 12 Years a Slave.

This performance is included in On Being's radio production, "Discovering the Cosmology of Bach" (http://www.onbeing.org/program/bernard-chazelle-discovering-the-cosmology-of-bach/7026)

Johann Sebastian Bach: "Chaconne" from Partita in D Minor for Solo Violin - Tim Fain

Nicolas Bernier & Francisco Meirino ‎– Fiction LP  

Fiction marks the first collaboration of sound artists Nicolas Bernier and Francisco Meirino. A study in feedback and psychoacoustics challenging the listeners perception and raising questions of what reality and fiction truly are.   

Nicolas Bernier’s exciting sound and installation work has been awarded the Prix Ars Electronica’s Golden Nica award. His artistic concerns remain constant, an exploration of balance between the cerebral and the sensual, and between organic sound sources and digital processing.

Francisco Meirino, an accomplished sound artist at the top of his game has released multiple works on Misanthropic Agenda including his most recent, critically acclaimed solo album, “Notebook (Techniques of Self-Destruction)”. He explores sound and its possibilities for failure while exhibiting his masterful editing and compositional skills.

Its perfectly fitting that these two artist come together to collaborate on this epic release.

available at: http://www.misanthropicagenda.com

Nicolas Bernier & Francisco Meirino ‎– Fiction LP (excerpt 1)

Introrsum Chorus

For more information head here: http://www.factmag.com/2015/07/30/gavin-russom-ps1-warm-up-mix/

New York City-based synthesizer fetishist Gavin Russom has long been one of DFA’s best kept secrets. His 2005 collaboration album with Delia Gonzalez – The Days of Mars – is a glorious, nostalgic synth-drenched reminder of the heady days of Tangerine Dream and Klaus Schulze long before Emeralds and Oneohtrix Point Never took the critical crown. Similarly, his later work as Black Meteoric Star was just as essential, exploring another angle with warmth and precision.

Almost expectedly, Russom decided to do something a little different for this mix – instead of blending other people’s records (or even his own), he submitted an hour-long live jam, using “2 drum machines, 2 synths, 2 sets of processors” in parallel. He used a mixer to blend between the two setups, so he could program one side while playing the other side, just as if he was actually DJing. It’s a deliriously creative take, and one to show to your mates when they tell you that electronic music is just hitting play on a pair of CDJs.



Gavin Russom - FACT X MoMA PS1 Warm Up Mix 5

This is the Allegro movement of my first piece for 100 electric guitars, electric bass and drums.  It was made in 1989.

16 March 1996 - Teatro Smeraldo
Milan, Italy
Producer & Guitar Coordinator:
Provincio di Milano - Assessorato alla Cultura

Conductor: Rhys Chatham with Ernest Brooks III on electric bass and Jonathan Kane on drums.

Claude Alvarez-Péreyre (FR) - el. guitar: soprano 1
Kent Condon (FR, USA) - el. guitar: soprano 2
Dominique Pichon (FR)- el. guitar: alto 1 & 2
Jean-François Pauvros (FR)- el. guitar: tenor 1 & 2
Pascal Bence (FR) - technical director
Fabio Lannino (IT) - road manager
Renzo Pognant (IT) - booking agent

Guitarists from the region of Milan (in alphabetical order):
This was a really great band. 

Lorenzo Alberti, Riccardo Ampollini, Flavio Ancora, Marco Agazzi, Pietro Bagnoli, Roberto Bertoni, Stefano Bobbio, Jean-Philippe Bordoni, Roberto Brambilla, Stefano Brembilla, Paolo Broggi, Andrea Brusadelli, Carmine Buoninconti, Alessandro Capozzo, Fabio Cardoni, Carole Gabriele, Elia Carrara, Giogio Casadei, Michele Catarisano, Rocco Cavallard, Luca Cavalli, Martino Cavanna, Lisa Cerri, Nicola Cesared, Davide Cherobini, Marco Colli, Giancarlo Collora, Andrea Crawford, Alberto Cutolo, Andrea Daloiso, Pasquale de Fina, Mario della Peruta, Giuseppe Dieni, Domenico di Francesco, Giuseppe di Muro, Fabrizio Esegio, Lorenzo Ferrario, Tobia Fossati, Pierangelo Frugnoli, Guido Genovesi, Carlo Gerosa, Nicola Gibertini, Marco Giustetto, Ben Noubi Hamida, Antonello Iannello, Giuseppe Ielasi, Frederico Janni, Giuseppe Lanni, Stefano La Tragna, Ivano Maggi, Carlo Maggioni, Graziano Marcis, Luciano Margorani, Carlo Matichecchia, Menafra Aniello, Fabio Mileto, Rosario Moschitta, Marco Morgioni, Danilo Nassaro, Paolo Noseda, Lelio Padovani, Tommaso Pedriali, Carlo Peroli, Maurizio Plate, Giovanni Pollizzi, Francesco Pomati, Andrea Quartarone, Matteo Roberti, Luciano Rollo, Lorenzo Sacco, Achille Scipilliti, Antonio Sechi, Attilio Songia, Alberto Sozzi, Roberto Stasi, Oliver Steffan, Martino Tansini, Diego Tribuzio, Marco Valugani, Giacomo Zadro, Rossano Zinico, Alvise Zuppani.

Allegro-An Angel Moves Too Fast to See

Chains written by Jan King and Karen Haglof.






Chains

Frisking- 11 musiciens - original set of percussions + wind players

2014 Composition for Sax Orchestra. 
Threnody for Earth.

SOLASTALGIA

First piece of the "Coriolis Project" album.

Release in June 2012 in digital (Zimbalam / Fr), "Coriolis Project" is an experimental work originally recorded in 2006 and based on guitars/bass/vocals/drums loops.

1/ Samsãra (14'42)
2/ Feu [-] (17'38)
3/ Chiasma #2 (9,19)

You can download these 3 titles on itunes/fnac/amazon and most downloading platforms.
ENJOY IT!

https://itunes.apple.com/us/album/id539190814?affId=1108120
http://telecharger-musique.fnac.com/fm14755873/Vortex-Coriolis-Project
http://www.emusic.com/listen/#/album/-/-/13466120/

Samsãra

L'Orchestra Sinfonica della RAI Radio Televisione Italiana diretta da Bruno Maderna esegue: 				

di Arnold Schonberg:   Verklarte Nacht op. 4 (Notte trasfigurata).
Versione riveduta dallo stesso  Schonberg, nel 1943,  per orchestra d'archi. 
Si tratta di un poema sinfonico composto nel 1899 per sestetto d'archi e ispirato all'omonima poesia di Richard Dehmel a sua volta tratta dalla raccolta "Weib und Welt" («Donna e mondo») del 1896 e dello stesso Dehmel. 

I tempi della composizione sono:
1. Grave
2. Animato
3. Poco allegro
4. Grave
5. Adagio
6. Più mosso, moderato
7. Adagio

NOTTE TRASFIGURATA OP. 4
(da «Weib und Welt», Berlino 1896)

Vanno per un boschetto spoglio due creature;
La luna le segue: esse vi affondano lo sguardo.
Muove la luna sopra le alte querce,
Non una nube offusca la luce celeste
Fin dove nere le cime dentate appaiono.
Parla una voce femminile:

Io porto un bimbo che non ti appartiene,
Accanto a te peccatrice cammino.
Contro me stessa ho gravemente peccato.
Non più credevo alla felicità:
Pure, con greve anelito bramavo
Uno scopo, una meta nella vita, ed ecco
Sfrontata mi son fatta, e ho lasciato
Che un estraneo il mio trepido sesso
In un amplesso avvolgesse,
e me ne sono creduta benedetta.
Ora la vita ne ha fatto vendetta:
e te ho incontrato, ho incontrato te.

Ella cammina a passi vacillanti.
In alto guarda: la luna la segue.
Lo sguardo buio annega nella luce.
Parla una voce maschile:

Il figlio che hai concepito,
non sia di peso all'anima tua:
guarda come chiaro e lucente l'universo!
Ovunque intorno tutto è splendore,
tu meco avanzi sopra un mare freddo,
ma un singolare calore sfavilla
da te entro me, da me entro te.
Il bimbo estraneo ne sarà trasfigurato
e tu a me, da me lo partorirai;
sei tu che hai dato a me questo fulgore,
e me stesso in un bimbo hai trasformato.

Egli l'avvince attorno ai fianchi forti.
I respiri si congiungono nell'aere lucente.
Nell'alta notte chiara due creature vanno.

(Trad. di M. T. Mandalari)

Arnold Schonberg - Verklarte Nacht op. 4. Rev. Arnold Schoenberg (1943) for string orchestra

Music for "the second movement" from the choreography "Rosas danst Rosas". The composer is Thierry De Mey. The choreographer is Anne Teresa De Keersmaeker.

Tweede beweging

Rhys Chatham is a composer from Manhattan who currently lives in Paris, France.  

I've decided to upload work tapes of pieces I'm working on for those who might be interested.

Allegro-An Angel Moves Too Fast to See

Rhys Chatham

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Bill Boethius

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