I: Wound Wire (0:00)
II: Weightless/Suspended (7:45)
III: Woven Wire - Homage to Ruth Asawa (13:06)

Talea Ensemble
Stephen Gosling, piano
James Baker, conductor

TIME:SPANS Festival, August 28, 2021, New York (US Premiere)
recorded by David Adamcyk

A line can go anywhere: Concerto for Piano and Ensemble (2019) - complete

rapid change, anxiety, and exhaustion. 

ScoreFollower video: https://www.youtube.com/watch?v=cMoZCoctIGU

cello - Seth Parker Woods
Recorded at Northwestern University in November of  2021.

STRIX (2021, for cello and electronics)

THIS AUDIO RECORDING IS ARCHIVAL AND UNPUBLISHED. 

World premiere performed live on August 18, 2022 by Timothy McAllister (alto saxophone) and the Lucerne Festival Contemporary Orchestra.

Scores - Recordings

For Wadada Leo Smith (Adagio)

Live performance from the Phillips Collections, Washington, D.C. 
Oct. 22, 2017

Bach Gigue, G Major Suite

Gesualdoabschrift.zkm.2

Allemande and Courante from G major Bach Cello Suite.
Seth Parker Woods, cellist
Recorded by Sang Wook "Sunny" Nam at Jacob's Well Mastering.

Allemande and Courante from G Major Suite

J.S. Bach Sol majeur Suite: Allemande & Courante

In Pet, a very simple music-theatre is developed out of the movements needed to perform the piece. Synchronicity, and the loss of synchronicity, binds the violoncello, the double bass, and the percussion, as well as the independent movements of the right and left hands of the strings players or the combined action of the two percussionists on a single instrument.

Pet oscillates inside the vast passage between sound and noise. The tuning, the register, and the notes themselves derive primarily from the harmonic series of the symmetrically arranged strings G, D, A, in the Cello and the Bass and secondarily from the harmonics of the remaining strings: C in the Cello, and E in the Bass. The percussion is mostly a distorting resonant box.

Pet is also a kind of homage to Morton Feldman, I wrote it in Buffalo, still under the spell of a discovery: the only rest in  Feldman's "Madame Press Died Last Week at Ninety" happens right after the "appoggiatura" number 61 of the 90 that conform the piece. When Feldman wrote it, he had no way to know that approximately ten years later, himself would die at age 61.
- Erik Oña (1994)

Pet (1994) for violoncello, double bass, and two percussionists - LIVE

download: https://officialamorphous.bandcamp.com/track/cardi-b-megan-thee-stallion-x-janet-jackson-would-your-wap-mind-mashup

played this live for the first time on my second live stream! you guys asked for it, so here you go!

this idea came to me like an hour before the stream. 'Would You Mind' is undeniably Janet's most sexual song, and I figured it'd go great with 'WAP'. this isn't a conventional mashup as I decided to mostly sample 'Would You Mind' but regardless, i hope you enjoy!

big ups to megan especially. lift her up rn.

follow amorphous:
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twitter - @loneamorphous
IG: @theofficialamorphous
bandcamp: officialamorphous
aritstunion: amorphous

Cardi B & Megan Thee Stallion x Janet Jackson - Would Your WAP Mind? (Mashup)

Jakob Nierenz - Cello

Live @ St. Johannis Church, Lüneburg, Germany

Coleridge-Taylor Perkinson: Lamentations: Black Folk Song Suite; IV Perpetual Motion

Music for Cello and Humming is available at https://blankforms.org/publication/judith-hamann-music-for-cello-and-humming-cd/

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann’s own “Humming Suite” and “Study for cello and humming.” Having arisen intuitively from Hamann’s investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism.  Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies’ “Loss,” a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis’ storied desire for an instrumentalist to play with the sorrow of knowing they can’t do everything. With an arc suggestive of sudden life change, “Loss” casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies’ signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould’s 1982 Goldberg Variations or Pauline Oliveros’ Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann’s humming work with a breakable, human strand, here as humbling as it is uncomfortable.

Music for Cello and Humming‘s sister release, Shaking Studies, is also available. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton.

Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.

Judith Hamann - Humming Suite III - Harmonics Étude For One Cello And One Voice

support: https://patreon.com/jimirreecedavis

happy thanksgiivng!!! this is a really random early morning idea that burst to me is soon as i woke up. luther vandross is one of my father and i's favorite artists of all time, and i just know this little idea would make him so happy (he's fine guys, just haven't seen him in a minute). rihanna is also hands down one of my biggest inspirations to ever exist. it's always been aaliyah, beyoncê and rihanna for me. 'kiss it better' has such an undeniably classic feeling, and 'never too much' is literally such a groove. as always, hope y'all enjoy! :)

follow amorphous: 
soundcloud.com/officialamorphous 
twitter - @loneamorphous 
IG: @theofficialamorphous

Rihanna x Luther Vandross - Never Kissed It Too Much (Mashup)

Critiqued as “a cellist of power and grace” (The Guardian) and possessing “mature artistry and willingness to go to the brink,” Seth Parker Woods has established a reputation as a versatile artist straddling several genres. Outside of solo performances, he has performed with the Chineke! Orchestra (UK), Ictus Ensemble (Brussels, BE), Ensemble L’Arsenal (IT), zone Experimental (CH) Basel Sinfonietta (CH), New York City Ballet, Ensemble LPR and Orchestra of St. Luke's (US). A fierce advocate for contemporary arts, he has collaborated and worked with a wide range of artists ranging from the likes of Louis Andreessen, Elliott Carter, Heinz Holliger, Helmut Lachenmann,
and Liza Lim to Peter Gabriel, Sting, Lou Reed, Dame Shirley Bassey, Rachael Yamagata, as well as visual artists Vanessa Beecroft, Aldo Tambellini, Jack Early and Adam Pendleton.

Holding a Ph.D. from the University of Huddersfield, his principal teachers were Thomas Demenga, Lucas Fels, Frederik Zlotkin, and Daniel Morganstern. In recent years he has given talks, workshops and performances at Royal Albert Hall (BBC Proms), Musée d’art Moderne et Contemporain (FR), Le Poisson Rouge and the Bohemian National Hall (USA), Cafe OTO (London, UK), Huddersfield Contemporary Music Festival (UK), Klang Festival (Durham, UK),
INTER/ actions Symposium (Wales), ICMC-SMS Conference (Athens, GR), NIME Conference (London), Sound and Body Festival (Lille, Brussels), Instalakcje Festival (PL), Virginia Tech, La Salle College (Singapore), and FINDARS (Malaysia) amongst others. Recent awards and acknowledgements include Artist of the Month for Musical America, an Earle Brown/ Morton
Feldman Foundation Grant (USA), McGill University- CIRMMT/IDMIL Visiting Researcher Residency (CA), Centre Intermondes Artist Residency (FR), Francis Chagrin Award (UK), Concours [Re]connaissance- Premiere Prix (FR) and the Paul Sacher Stiftung Research Scholarship(CH).

Bach Gigue, G Major Suite

Seth Parker Woods

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