Funeral procession for my grandfather

Le souffle coupé, dans une ambiance sourde, j'ai salué pour la dernière fois le corps de mon grand-père. L'impact de la pelle contre la terre encore humide, ma main étourdie qui frappe le bois en guise de dernier salut, le son granuleux de la terre que l'on jette sur le cercueil pour le recouvrir ; ce sont les dernières images acoustiques et signes de sa présence.
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negative_soil (2020) - for 9 musicians and electronics

June 2021, Paris 
https://www.youtube.com/watch?v=TyhhsNXbRvU

Day Was Departing _ For Tenor, Electronics and Video

Petite pièce écrite pour l'atelier L2 de la classe de Jazz du Conservatoire National Supérieur de Musique et de Danse de Paris.
Hugo Van Rechem: Composition/Violon
Balthazar Naturel: Cor Anglais
Paco Andreo: Valve Trombone
PM Lapprand: Sax Soprano
Simon Corneille: Saxophone Alto & Baryton 
Yessaï Karapetian: Fender Rhodes
Benjamin Thiebault: Piano
Aurélien Holl: Guitare
Etienne Renard: Basse
Florent Berteau: Batterie

Paul Boulier: Mix

Enregistré en salle Maurice Fleuret au CNSMDP.


Ainsi il ouvrit sa fenêtre et le Périphérique lui dit ces mots

I wrote this text as a way to free myself from the seemingly never ending obsession with triviality that, albeit a necessary force in some respects, plagues the contemporary arts. The poem is paradoxical, demonstrating that by trying too hard to not repeat ourselves, we unconsciously repeat our ways and methods of creating. "Two and "Things" are capitalised, while "one" and "way" are not, signifying the importance that we give to "things" or physical manifestations, compared with "ways," "methods," or "principles," which are of not physical in nature, in Western culture. The style of the poem is inspired by Laozi and Zhuangzi, on whose writings the principles (or non-principles one could say) of Daoism are based. The word "dao" (道) in mandarin Chinese translates loosely to "way," "path," "principle," or "method." The emphasis on "ways" in this poem is hence a reference to Daosim and eastern philosophy in general.

One avoids repetition by
always trying
to never do
the same thing
twice

By using this one method
every day
you can do
the different thing
every single time
the same way

Commissioned by and premiered at the Voix Nouvelles Academy at the Abbaye de Royaumont in September 2019.
Performed by the Mivos Quartet and Les Metaboles.

Two Things; one way (Les Métaboles, Mivos Quartet)

premiered by Oerknal Ensemble at Bilkent Concert Hall October 23, 2019. 

Gregory Charette, conductor
Susanne Peters, flute
Daniel Boeke, bass clarinet
Christian Smith, percussion
Sophie Patey, piano
Jellantsje de Vries, violin
René van Munster, cello

Mastering: Deniz Aslan

Palimpsest

"Greetings from Astridplein" is my recent collaboration with composer Matthew Shlomowitz and guitarist Tom Pauwels. Made for BBC radio 3, this work took an interesting turn when the three of us felt it would be constructive for the piece if I musically produce and transform it into a ("musical") radio play. Adding field recordings, cutting and re-editing the material (with full respect to the score), envisioning the sound of each guitar channel and then mixing and mashing them up into a new "cinematic" creation were in a sense a chance for me to discover a new territory within the world of interpretation. 
* All guitars recordings by Tom Pauwels and myself

Deutsch-Pauwels-Shlomowitz: Greetings from Astridplein

Cellist: Mariel Roberts

"thoughts on imperceptibility" aims to let listeners "hear" frequencies that are below and above what is normally perceptible.

Composed for the 2020 Online Cortona Sessions

thoughts on imperceptibility

Recorded by the composer. Score included with bandcamp album download: https://aaronmyersbrooks.bandcamp.com/album/miniatures-for-piano

Seven Just Intonation Miniatures for Piano

Recorded by Austin Wulliman
Version for 4 violins

"dx/dt" recontextualizes music notation as a position versus time graph. Utilizing a unique Pythagorean tuning system where 4 instruments cover a full 12 note series of perfect 5ths, this piece can be performed on 4 violins, 4 violas, 4 cellos, or 4 double basses. Only open strings and natural harmonics are used throughout the piece, through which delicate and pure sounds immerse the listener.

dx/dt

Sound artist Hagai Izenberg is using here an eclectic mixture of recordings starting with a weather report narration by David Lynch , moving into my recording of Steve Reich's "Electric Counterpoint" (taken from the album 33 RPM) and then followed by the sound files listed below. All together resulting a cinematic radio spectacle where "ready made" audio materials are being recontextualised as they detach from their origin.
—
Materials used in order of appearance:
Weather Report by David Lynch (US)
33 RPM by Yaron Deutsch (Israel)
Los Angeles Police Department (live broadcast)
Do Not Disturb by Glands Of External Secretion (US)
Airports recordings mesh-up (YouTube)
Musique Grossière by PARSA (Iran)
In this lingering Twilight Sparkle by Mark Leckey (UK)
The Untitled (August 2020) by Ben Vida (US)
My Little Pony Halloween Spooky Moments (YouTube)
—
Cover photo by Natasha Shakhnes
More info about Radio Concrete at: https://www.facebook.com/radioconcrete/

Two Things; one way (Les Métaboles, Mivos Quartet)

Samuel Taylor

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