Latvijas radio koris
cond. Kaspars Putniņš
Concresence project
„Abar panjom ardīg  abāg  gāw ēk-dād kard“ - „On the conflict waged with the primeval ox“ 
Bundahishn, meaning "Primal Creation", is the name traditionally given to an encyclopædiaic collections of Zoroastrian cosmogony and cosmology written in Book Pahlavi.[1] The original name of the work is not known.
Although the Bundahishn draws on the Avesta and develops ideas alluded to in those texts, it is not itself scripture. The content reflects Zoroastrian scripture, which in turn reflects both ancient Zoroastrian and pre-Zoroastrian beliefs. (Wikipedia).
Translation: 
1. As it passed away, owing to the vegetable principle (chiharak) proceeding from every limb of the ox, fifty and five species of grain and twelve species of medicinal plants grew forth from the earth, and their splendour and strength were the seminal energy (tokhmih) of the ox. 2. Delivered to the moon station, that seed was thoroughly purified by the light of the moon, fully prepared in every way, and produced life in a body. 3. Thence arose two oxen, one male and one female; and, afterwards, two hundred and eighty-two species of each kind became manifest upon the earth. 4. The dwelling (manist) of the birds is in the air, and the fish are in the midst of the water. 


Abar Panjom Ek Dad Kard (2010)

Chamber orchestra "Sinfonia Concertante", conductor Andris Vecumnieks

Re-written for string orchestra (2025)

"Some things are hurrying into existence, and others are hurrying out of it; and of that which is coming into existence, part is already extinguished. Motions and changes are continually renewing the infinite duration of ages. In this flowing stream, then, on which there is no abiding, what is there of the things that hurry by on which a man would set a high price?  It would be just as if a man should fall in love with one of the sparrows that fly by, when it has already passed out of sight."

– Marcus Aurelius, Meditations
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Most of the sounds of "brief candle" were generated by recording childrens' toys and then modifying them through extreme spectral and temporal transformations; others were generated by reading computer programs as soundfiles. All percieved spatial movements are produced by varying the phase relations among 6 independent channels. 

Composed at Djerassi, SCRIME, La Kitchen.kom and in my bedroom. 

Selected in  the Concours Internationaux de Musique et d'Art Sonore Electroacoustiques de Bourges 2006 and in the contest CIMESP 2005.

Commissioned by the French Ministry of Culture. 
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Released on the CD “divide by zero” (Sub Rosa, 2011).
https://www.subrosa.net/en/catalogue/new-series-framework/benjamin-thigpen.html
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divide by zero

brief candle   (2005)

for string quartet and electronics

Paris, Centre Pompidou June 7th 2017
Quatuor Diotima

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As a kid we had a television set with an antenna that rotated (you could rotate it from inside of your house). When the major channels would go off-air you could rotate it and pick up strange other channels from smaller cities around - from across the border, Buffalo and so on - and you would see strange things, that were kind of hard to see (there was a lot of static) and it was very intriguing to watch that kind of things. That was really the core, the crystal at the centre of this movie: my experience with that thinking “what if the images that you pulled up were really quite extreme, disturbing, possibly illegal, and what would you think then, would you keep seeking out those channels or would you call the police or what would you do, how would you respond to them?”

David Cronenberg on his movie Videodrome (commentary track of the Criterion Collection BlueRay)

The Max Headroom broadcast signal intrusion was a television signal hijacking (probably the most famous and certainly the longest signal hijacking ever) that occurred in Chicago, Illinois, United States on the evening of November 22, 1987. The signal pirates, whose identities were never found, succeeded in getting their broadcast intruded onto WTTW (a local Public Broadcasting Service television station).
The pirate broadcast, which lasted 90 endless seconds, featured an individual disguised as Max Headroom (a sci-fi computer-generated television character quite popular in the 80s, coming from dystopian near-future dominated by television and large corporations).
Around 11:15 p.m. an episode of the British TV-Series Doctor Who was suddenly interrupted by television static, after which an unidentified man wearing a Max Headroom mask and sunglasses appeared. The man started to moan, scream and laugh, uttering various random phrases (the audio was distorted and crackling), including New Coke's advertising slogan "Catch the Wave" while holding a Pepsi can (Max Headroom was a Coca-Cola spokesperson at the time). He then tossed the can out of sight, presented his middle finger wearing a rubber extension, sang an excerpt of “I’m losing you” (a 1966 Motown hit recorded by the Temptations), hummed the theme song of Clutch Cargo (a clumsily-animated television series of the 60s), moaned painfully complaining about his piles, farted, put on and off a giant glove (similar to the one worn by Michael Jackson at the time). He then partially exposed his buttocks, howling: "They're coming to get me!”, while an unidentified female accomplice wearing a French maid outfit started to spank him with a flyswatter. The transmission then blacked out for a few seconds before resuming the Doctor Who episode in progress.

“The 1987 Max Headroom Broadcast Incident” features a string quartet “enhanced” with transducers and preparations. 
The digital processing of the instruments is largely inspired by the same modulation techniques that were - and still are - commonly used for radio and television transmission. 
The piece, an hommage to obsolete or soon-to-be deprecated technologies and to the media-dominated, dark future that the “cyberpunk” sci-fi of 80s foretold, is dedicated to the memory of Fausto Romitelli.

Mauro Lanza - "The 1987 Max Headroom broadcast incident" (2017)

Traktopera @Valmieras vasaras teātra festivāls

Neatcerēsies (vs afx - 4 red calx slo)

for solo piano
(Andrea Corazziari : piano)

Mauro Lanza - "Predellino" (2005)

Latvian National symphony orchestra 
conductor Andris Poga 
9.02.2019

Enantiomorphic Chambers

Santa BUŠS : 'Calligraphie abstraite' (Hommage à Georges Mathieu) 
for ensemble (2012) : 
Performed by Convergence New Music Ensemble, 
conductor Thomas Herzog

The inspiration for this work has been brought from the French artist Georges Mathieu (1921-2012), one of the representatives of the lyrical abstractionism, and more precisely his large format works from the 1950s and 1960s. Studying the work of Mathieu, reading his reflections, watching videos of his working methods, I was captured by the spontaneity and speed at which he worked, as well as the way he created his associative action painting. In his brightest paintings of that period one can see the same artistic handwriting, and this composition is also made both directly and associatively referring to that. 
The works of Mathieu are both saturated and laconic at the same time, and though they are made spontaneously, they give the impression of a well organised and balanced composition. The united colour palette and common gestures leave lines and points on the canvas, that resemble accomplished and spontaneous, yet abstract calligraphy. Whereas the work method includes periods of intense activity and abrupt distancing from the large canvas in order to see the “bigger picture” and decide on the following steps… 
The work process as well as the body language of the artist and painting motives are aspects which I have tried to interpret in the piece 'Calligraphie abstraite (Hommage à Georges Mathieu)'.

Re-written for string orchestra (2025)

Rolands Kronlaks