Classical

An ensemble of three sounds:
https://freesound.org/people/Koops/sounds/17871/
https://freesound.org/people/abbahoot/sounds/221649/
https://freesound.org/people/ragamuffin/sounds/186363/

Sound Ensemble #15

sar-āb

Written By: Elaheh Khaki 
From "Talking Keyboard" Series
Electric Guitar By Matthew Murphy 
Vocals By Elaheh Khaki, Steven Abadi Special 
Thanks to Guillermo Gutarra Uriol, Arash Famiilirani

I am here for you - Talking Keyboard

live at 2640 Space (Baltimore)

live recording of the premiere of "deep terrane (something moves)"

-Ty Bouque [voice]- http://tybouque.com
-Will Yager [bass] - https://willyager.com
-T McCormack [prepared bass drum]

more info:
https://www.timothy-mccormack.com/something-moves
www.timothy-mccormack.com/deepterraneproject

[photo credit: Ian Power - https://ianpoweromg.tumblr.com]

deep terrane (something moves) [2024]

World premiere performance by the Edge Ensemble at the Gaudeamus Sessies in Utrecht, Netherlands (October 19, 2014).

Program Note:

The power of single moments or occurrences is often underestimated when compared to their antitheses; stretches of time that seem to make up the reality of experience. In life, it is often these singular moments that are the most meaningful to us, as they provide new perspectives on our collective experience and allow us to re-contextualize things in relatively positive or negative ways. 
“Rain Spell” deals with this relationship between the momentary and the longer lasting, through sections of stark contrast in content and proportion. Using musical metaphor, gradually shifting layers of texture and sound, and guided improvisation, the mimetic/sonic representation of a storm is juxtaposed with its literal and poetic antithesis (sunlight), which serves as a personal reflection and conveyance of my own views on apparent hopelessness, and hope. 

This piece is dedicated to Ayaka Kamei for being the right person, in the right place, at the right time. Amidst this chaos, your kindness has provided me with a moment of happiness, purpose, and relief, despite the uncertainty of the future.

"Rain Spell", for Soprano Saxophone, Percussion, Piano, Baroque Violin, Double Bass (2014) | Edge

Movie Name: The Dice
Year: 2017
length: 25 minutes

Playwright: Forbes Bramble
Screenplay: Nigel Harvey 
Producers: Sonali Bhattacharya and Sarah Tehranian
Director: Nigel Harvey
Director of Photography: Sarah Tehranian
Editor: Lorenzo Mentil
Production Designer: Juliana Matsubara 
Music Composer: Navid Khorassani 
1st Assistant Director: Sara Maggie Alves
2nd Assistant Director: Tyler Bentley
1st AC: Kedar Naidu 
2nd AC: Rushil Choudhary 
Gaffer: Max Elliot Lovell
Spark: Alvaro Florit
Sound recordist: Serin Kucuk
Boom operator: Tom van Overloop
Make Up Artist: Sarah Gilbert

The Dice

Welcome to the Prison

…like many surfaces of an attempt, for Schallfeld ensemble (2018)

impuls Minutenkonzerte
esc kunst medien labor Graz
May 26th 2018 

Schallfeld ensemble: 
Myriam García Fidalgo violoncello 
Matej Bunderla saxophone
Szilárd Benes bass clarinet 
Juan Pablo Trad Hasbun double bass 
Davide Gagliardi sound

Program notes:
This piece is about the distance between musical events and the difficulties posed in making connections between them. However, connections between them still somehow exist. They have to be searched for, invented, discovered. There is something disturbing in that process, but also calming. In the second part of the piece I use a text that I wrote, which gives the listeners new opportunities for constructing the flow of the music and deciphering its meaning. 

Text: 

What if we meet and I fall in love?
What if we meet and we don’t like each other?
What if we meet and we like each other 
so much, that we can not 
breathe? 

What if we meet and you start to hate me?
What if we meet and you are boring to me?
What if we meet and I seem old to you?
What if we meet and you like me more?
What if we meet and I like you more?
What if we meet and you fuck me 
so hard, that I don’t wanna
talk? 

What if we meet and I don’t like your smell?
What if we meet and you’re  not impressed 
with my body?
What if we meet and you say something wrong 
something stupid 
something cruel? 
What if we meet and you scare me?
What if we meet and we don’t understand 
each other?

What if we meet and it’s raining 
so heavily
that we have to stay inside and fuck 
all the time
and hug all the time
and talk all the time?

What if we meet and it’s sunny 
so beautiful
that we have to kiss on the grass 
all the time
hide from other people all the time
smile at each other 
all the time?

What if we meet and I hate the way you smoke 
the way you walk
the way you’re touching me?

What if we meet and you don’t like my thoughts, 
my worlds, my colors of the 
rainbow?
What if we meet and we realize that we 
are two different galaxies?
What if we meet and I feel that I’m not 
enough for you?

What if we meet and it gets awkward? 
What if we meet and I get anxious?
What if we meet and you faint?
What if we meet and …? 
                ………
                ……
                 ….
What if we never meet?

Sonja Mutić

...like many surfaces of an attempt, for Schallfeld Ensemble

Binaural version of an acousmatic composition, intially made for a specific dome shaped loudspeaker setup. Played in an online concert instead due to the Pandemic in 2020, hence the binaural rendering. Vision of the piece was movement of sounds. Made with ambisonics. Title has to do with my questions surrounding how meaning of a piece of music is created. The title of this work is in a way stuck in semiosis, stuck in the process of finding a title, finding some kind a representative sign.

Semiosis

Semiosis [BINAURAL]

Two instrumental soundfiles are frozen at a random point during playback and analyzed for their spectral content. Using additive synthesis these moments in time are reconstructed and faded into each other. Created for the semester concert series of the IEM at KUG Graz.

Stasis Variation

Performed by the Arditti quartet during the Musikprotokoll/Arditti Quartet Workshop, October 2020, Graz

Klangwesen (2020), for string quartet

So. 18.10.2020, 11:15 Uhr
Grunerhof Leobendorf

Mit einem Konzert unter dem Titel „Herbstklänge“ wurde „Leobendorf Kultur 2020“ eingeleitet. Um den Sicherheitsbestimmungen bezüglich Covid-19 gerecht zu werden, musste eine Pause entfallen und das Programm entsprechend kurz gehalten werden. Der Qualität tat dies jedoch keinen Abbruch, denn es schienen mit dem Violinkonzert Nr.1 in g-Moll von Max Bruch und der Symphonie Nr.5, der Schicksalssymphonie von Ludwig van Beethoven zwei Musikstücke höchsten Ranges im Programm auf.

Das Violinkonzert bot der Solistin, der aus der Musikschule Bisamberg/Leobendorf/Enzersfeld hervorgegangenen, Stephanie Neubauer die Möglichkeit zu zeigen, dass die anlässlich des Wettbewerbs „prima la musica“ verliehenen Preise kein Zufall waren. Und die Wiedergabe der Schicksalssymphonie zeigte auf, dass sich das Symphonieorchester Bisamberg/Leobendorf unter der Leitung von Walter Reindl zu einem Klangkörper erster Güte entwickelt hat.
Helmut Seufert

Herbstklänge - Herbstkonzert-2020-2

Symphonie Nr. 5 in c, Op 67 - 3.&4. Allegro

Symphonie Nr. 5 in c, Op 67 - 2. Andante con moto

Symphonie Nr. 5 in c, Op 67 - 1. Allegro con brio

Going through my reel to reels and found another gem. I haven't heard this in over 30 years. It features the amazing voice of Gabriele Lechner. Despite the sometime less than perfect orchestra moments, a great ensemble effort, as a wonderful ensemble we did have! Dedicated to the memories of Reinhard Schwarz,Andreas Näck, and others who may have passed on that I am unaware of!

Der Freischütz Krefeld 1986

13 for string quartet (2016) - recorded 2020

Kalligraphie I for oboe solo

Performed by Liske Herbots on 27th October 2020


"Kalligraphie I" is inspired by the shapes and patterns of traditional Arabic handwriting. The whole piece forms a single expressive gesture that is inwrought with sudden rhythmic sparkles. Through horizontal counterpoint both elements gradually intertwine, creating a sense of growing connection similar to the process where the shapes of letters start singing when the lines and dots of ink transform into poetry.


"Kalligraphie I" ist inspiriert von den Formen und Mustern traditioneller arabischer Handschrift. Das gesamte Stück besteht aus einer einzigen expressiven Geste, die von plötzlichen Momenten aufflammender rhythmischer Schärfe durchdrungen ist. Durch horizontalen Kontrapunkt überlagern sich diese beiden Elemente nach und nach, wodurch sie immer mehr zusammenwachsen, so wie die Formen von Schriftzeichen langsam zu singen beginnen, während sich in den Punkten und Linien die Tinte in Poesie verwandelt.

Kalligraphie I (2018)

سپهر کرباسیان
composer from Tehran, Iran based in Austria

13 for string quartet (2016) - recorded 2020

Sepehr Karbassian

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