For piano and live-electronics. 
Piano: Stephane Ginsburgh; Live-electronics: Florian Bogner (ICST) & Stefan Prins. 
Live-recording 31/7/2016, CentralStation, Darmstadt, during the Darmstädter Ferienkurse 2016.
In coproduction with Ultima Festival Oslo, deBijloke Gent, ICST Zürich and Internationales Musikinstitut Darmstadt.

Piano Hero #3 (Stefan Prins, 2016)

MXXWLL X Deutsch Duke - With You

Cochlea Duo performs "Scintillation" (2016) by Samantha Wolf
Chelsea Czuchra, alto flute
Lindsay Buffington, harp

live premiere performance, soundSCAPE performance and composition exchange

July 8th, 2016, Maccagno, Italy

Scintillation, Samantha Wolf

A piece composed for 5x5x5 at the Arts Centre Melbourne.

Thea Rossen, percussion
Kaylie Melville, percussion
Jennifer Timmins, flute
Emmanuel Cassimatis, cor anglais
Kenny Keppel, bass clarinet
Matthew Horsley, conductor

Matthew Horsley - Spaces Without

Great rack has a great big 1998 Yamaha sampler with four great big megabytes of memory.

Playing this Wednesday - https://www.facebook.com/events/432861410404637/
And Friday - https://www.facebook.com/events/447035555689273/

Great sampler  (2017)

mammal for prepared piano solo
Performed live by Vicky Chow at the Banff Centre for the Arts, August 2017

mammal

Aposiopesis refers to the use of silence or a pause, leaving something left unsaid. This work is littered with short statements broken by silences of varying lengths, each phrase is left to be completed and uncompleted alike by the listener. Aposiopesis occupies a harmonic world that meanders, searches, and at times even wanders off; the pitches themselves are often lost within the sound of air.

Performed and recorded by BRON Quartet

Aposiopesis

15.12.18 live recording @ Seven Hills Theatre
for uilleann pipes, erhu, violin, prepared guitar, two bass flutes

performed by Kupka's Piano with guest artists Graeme Jennings, Matt Horsley and Jasmin Leung

Migrations

"veiled tendencies" - kupka's piano

Want Not (2018) for Piccolo, Percussion, Piano/Toy Piano and Cello with found objects. Commissioned by Rubiks Collective for the 2017 Pythia Prize. Recorded by Rubiks Collective, Underground Media & Tilman Robinson, September 2018. 

Influenced by environmentalism, minimalism, extreme frugality, and the aesthetics of damage, 'Want Not' explores the sonic potential of discarded objects, breathing new life into everyday items that would otherwise become landfill. In the scherzo-like opening, a frying pan, mint packets and leftover construction tiles intermingle with percussive Piano sounds. Aeolian tones on the Piccolo complement the mercurial sounds of the Cello prepared with bulldog clips. Music boxes that had been left to gather dust are showcased alongside a Toy Piano and quarter-tone Kalimba. For the final section, empty bottles supplant the Piccolo, augmenting the ethereal sounds of bowed kitchen bowls and piano strings prepared with single-use plastic forks. Overall, the piece is a journey through an eclectic sound world, whimsical and tender at times, solemn and even sinister at others. 

While obviously critical of modern throwaway culture, 'Want Not' also presents a way to grant would-be litter a new life - as a musical instrument. In doing so, the piece invites the listener to consider the creative possibilities of the objects around them, even if the object appears to have outlived its intended purpose.

Video: https://www.youtube.com/watch?v=26w5NMoYQlU&feature=youtu.be

Rubiks: https://rubikscollective.com/

Want Not

Reverie I is part of a larger series of video-art works exploring meditative states of consciousness. 

It was created as 8 minute dual screen video installation with quadraphonic sound.

Visual Imagery by Anna Bonshek. Electroacoustic music by Corrina Bonshek.
Spoken word and movement by Vershawn Saunders. Music performed by Corrina Bonshek and Leigh Giles. Recorded, mixed and mastered by Emma Stacker. 
Find out more at www.bonmusic.com.au

Reverie I

Described as ‘haunting’, ‘enigmatic’, and ‘inspired’, the music of Australian-born, US-based composer Samantha Wolf inhabits the space between the classical, contemporary, acoustic and electroacoustic worlds, while being grounded in the notated tradition. Her practice encompasses solo, chamber, choral, band and orchestral works, interdisciplinary collaborations, theatrical sound design, and electroacoustic works that incorporate noise, speech, and found sounds. 

Samantha has worked with many of Australia’s leading new music ensembles, including the Melbourne and Tasmanian Symphony Orchestras, Elision, Ensemble Offspring, The Song Company, the Horsley Williams Duo, Rubiks Collective, and Kupka’s Piano. Her music has been performed around Australia and internationally, including at the Darmstadt Summer Courses for New Music (Germany), soundSCAPE Festival (Italy), Impuls Academy (Austria),  Norfolk Chamber Music Festival (USA), and locally at the Brisbane New Music Festival, Metropolis New Music Festival, the ANAM Set, Tilde New Music Festival, and the 2high Festival. Her music has been broadcast on ABC Classic FM, 3MBS, PBS and 4MBS, and featured by Making Waves, Partial Durations, Collective Soundwaves, and ABC’s New Waves podcast. An avid writer, Samantha’s articles have been published by Resonate, CutCommon and Rehearsal Magazine. Samantha holds degrees from the Yale School of Music, the University of Melbourne, and the Queensland Conservatorium of Music. Samantha is represented by the Australian Music Centre.

Want Not

Samantha Wolf

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