The Spektral Quartet plays "Dig Absolutely"

Dig Absolutely

The Banquet, by Haz Bey. Produced by Hir-O with guests Doss The Artist and L05.
From The Haz EP.
http://hazbey.bandcamp.com/album/the-haz-ep

Haz Bey: The Banquet ft. Doss The Artist and L05 (Prod. Hir-O)

Lock & Key

track released 22 August 2011
Vocals-Obie Iyoha, Gameboi, Jamall Bufford, L05
Production-Vaughan T (of the Lab-Techs)
Engineering & Mastering-L05 
Artwork- AndyHero

Obie Iyoha: Lock &amp;amp; Key ft. Jamall Bufford, Gameboi, L05 [Prod. by Vaughan T]


Play Around...

track released 10 November 2011
Vocals: L05
Production: Hir-O
Engineering &amp; Mastering: Hir-O and L05
Artwork: Haz Bey


Hir-O: Play Around... ft. L05

The track Shed Light, from Man In Charge's solo debut album PENTELLIGENT.

© 2010 Celsius Electronics


Man In Charge: Shed Light (Prod. L05)

The track Push, from Man In Charge's solo debut album PENTELLIGENT.

© 2010 Celsius Electronics



Man In Charge: Push (Prod. L05)

gOing gOing gOne, by Doss The Artist. Produced by Hir-O with guest L05.
From the acclaimed Computer B!ue album.
http://hir-o.bandcamp.com/album/computer-b-ue



And coming soon... 

L05 + Hir-O + Doc Illingsworth + Doss The Artist = Doctor Hir-05 The Artist

Doss The Artist: gOing gOing gOne ft. L05 (prod. Hir-O)

The track BESTINTOWN, from Cheeks' solo debut project THE POTENTIAL. It features guest performances from Buff1, L05 of CEL-EL, and GP of Tree City, and is produced by L05.

The entire project can be downloaded at http://cheeks360.bandcamp.com.

© 2010 Branch Out Collective

Cheeks: BESTINTOWN ft. Buff1, L05, and GP (Prod. L05) *CLEAN*

Music by Robert Vuichard 
Student Thesis Concert 2013 
Recorded Live: Borden Auditorium, Manhattan School of Music 
The Manhattan School of Music Symphony 
David Gilbert, Conductor 
Jessica Petrus, Soprano 
Based on a poem of Hermann Hesse, 'Das Glasperlenspiel' 

Fortspinnung und Passacaglia: An Endless Oscillating Game

The Rule and Exercises of Holy Dying (1651)
A man is a bubble, (said the Greek proverb), which Lucian represents with advantages and its proper circumstances, to this purpose; saying, that all the world is a storm, and men rise up in their several generations, like bubbles descending a Jove pluvio, from God and the dew of heaven, from a tear and drop of rain, from nature and Providence; and some of these instantly sink into the deluge of their first parent, and are hidden in a sheet of water, having had no other business in the world, but to be born, that they might be able to die: others float up and down two or three turns, and suddenly disappear and give their place to others: and they that live longest upon the face of the waters are in perpetual motion,restless and uneasy, and being crushed with a great drop of a cloud, sink into flatness and a froth; the change not being great, it being hardly possible it should be more a nothing that it was before.
-Jeremy Taylor

I reread Jeremy Taylor’s exquisite sentence, the opening of The Rule and Exercises of Holy Dying, throughout my compositional process but, in composing my work, I was not, beyond a general stormy affect in the middle section, musically illustrating Taylor’s imagery. Rather, Taylor’s rhetoric –veering between violent and delicate imagery, and structure, its pauses unable to halt a powerful trajectory, inspired me to compose this work as a type of memento mori. Giving abstract music expressive titles is rare for me, and in any case is a tricky process. But in the wake of recent losses, both personal and national, I was moved even moved by Taylor’s text –a potent emblem of the fragility and precariousness of life.

On a purely technical level, the work is a summation of my work for strings over the last decade, especially my three string quartets composed for the Arditti and JACK Quartets. More than any overdetermining system, my work is governed by the physicality of the instruments and is marked by the gradual introduction of different playing techniques: glassy harmonics, skittish string-crossings, snap pizzicato, or even brutal sawing, often resolving once more to an uneasy calm. I embrace aspects of high modernism - albeit critically, and attempt is create something viscerally expressive, dramatically structured, using pulsing rhythmic energy to veers between extremes of fragility and violence. 

While my work has used scrapping sounds for almost ten years, after watching a recent documentary on Gerhard Richter’s process, I was struck by the aural similarities created by his process which entails dragging a scrapper across the canvas over freshly-applied paint. Scrapping that yields texture and color is important in my work. The subtitle is a nod to Richter, a constant source of inspiration. 

That said, the initial juxtapositions that inspired this work are more personal. I was asked to compose a work to accompany Richard Strauss’ Metamorphosen for 23 solo strings shortly after my grandfather’s passing. Its impossible for me think of either Strauss or my grandfather without thinking of Munich in the spring of 1945, the time when Strauss was finishing (and a bit too ambiguously dedicating) Metamorphosen.  Only a few miles a way, American soldiers liberated Dachau and my grandfather was among the soldiers that aided the victims and then escorted them south through Strauss’ Garmisch, to Salzburg and on to the Hungarian border. It is dedicated to him, and to my grandmother, who passed away shortly before I finished this work, in memoriam.

Review here: http://tinyurl.com/n5ua5g7 and (as performance of the year) here: http://tinyurl.com/l7ayod8

Fortspinnung und Passacaglia: An Endless Oscillating Game

Robert Vuichard, Composer

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