68 Absofunkinlutely Adam Marks

Free and unprepared improvisation on this, my favourite Prelude and Fugue by Bach from the whole Well-Tempered Clavier, II. You can hear it took me awhile to find a "crack" in the monolith that is Bach. In any case, I like this first attempt at improvising on Bach's music. It took me to unexpected, darker places, as well as challenged me in ways never experienced before.

Improvisation on Prelude No. 20 in A Minor BWV 889 by Bach

Premiere concert: December 7th, 2013, as my Master Thesis at Bandeis University. The premiere is founded by the New Music Brandeis. The opera received The American Prize 2015 in Professional Category.
Conductor - Jeffrey Means, Soprano - Aliana de la Guardia, Violin I - Lilit Hartunian, Violin II - Annie Hsu, Viola - Justin Ouellet, Cello - Kett Lee, Piano - Elaine Rombola Aveni, Percussion - Nick Tolle, Organ/Celesta - Alexander Lane, 
Electronic Assistant - James Praznik, Stage lighting - Richard Chowenhill, Concert Manager - Jared Redmond
Composer, Playwright, Stage/Light settings/Performing design - Yiguo Yan

Act One
A female writer lives in an imaginary country without free speech. Language is distorted by the governing dictatorship and centralized religious authorities. (This distortion is represented symbolically first by a musical collage—a recording of political speeches in seven languages, including words of a trial after Chinese culture revolution, a Stalin speech, a Hitler speech, a Mussolini speech, a FDR speech, a Taliban recording, and a young Japanese Nazi speech, and second by a religious organ music) In this depressed and restrictive environment, people shout meaningless and ridiculous slogans. Meanwhile, the writer suffers painfully because her waking consciousness stands out among the fury of the world. After a long period of depression, the writer gradually becomes an aphasic. She cannot control her words whether it is in writing or speaking. Her language disorder causes her to act crazily. On one hand, she keeps repeating "pink" (the symbol for vulgar in the libretto) obsessively; on the other hand, her sober consciousness stimulates her nausea towards society. An important sentence of the first act is "people are dolls that are manipulated by society, morality, government, religions, nationalism, class contradictions, boundaries, majorities, norm!" At the end of Act One, the writer completely loses herself in the mental disease, isolating her from the world. 

Act Two
In Art Two, "Colors of Obsessions" expands to other colors, as the writer starts her inner-self journey. Each color symbolizes an extremely painful life experience: black for dictatorship; white for nihilism; red for violence; green for claustrophobia, yellow for fury, and blue for sorrow. Colors are the all-pervasive pain, which fills the writer's soul. The seven colors' journey also symbolizes a path going towards the highest level of wisdom, the "purple heaven". Although the writer commits suicide at the end of the opera, her soul flies to the purple paradise; she achieves the wisdom that cannot be found during her lifetime. 

Notes of Composer/ Playwright:
"Colors of Obsessions" is dedicated to thirteen suicidal writers, symbolically represented in the libretto by the "thirteen dead angels" who appear in the female writer's dreams: Sarah Kane, Haizi, Ernest Hemingway, Akutagawa Kyunesuke, Sylvia Plath, Stenfan Zweig, Virginia Woolf, Anne Sexton, Sergei Yesenin, Henri Maupassant, Yasunari Kawabata, Sappho, and Sara Teasdale. I grew up reading their profound literature works. They dedicated their lives to art that is everlasting. While I continue to be inspired by their works, I feel their suicidal deaths are like a nightmarish transmigration. Their works and deaths leave me a speechless intensity that has to be expressed through music. The suicide of writers to me is a very serious cultural and spiritual phenomenon with complicated reasons including: an excessive dedication to art; the conflict between imaginative worlds and reality; the sensitivity of seeing through the weaknesses of human nature; and the over-exposure of personal emotions, causing nervous breakdowns. I want to explore this phenomenon further through the depiction of a writer's inner-self journey from creative life to death.

Colors Of Obsessions--Yiguo Yan, composer and playwright, Premiered in Boston, 2013

La Teiera di Russell
NMR
2015

Personnel:
Paolo Bertazzoli - drums
Pietro Caramelli - guitars, drones, effects
Tommaso Fia - keyboards, Korg R3, Moog Little Phatty, effects

Production: 
Paride Lanciani - (analog) recording, mixing, mastering, production
La Teiera di Russell - production 

3) Pezzo Da 35

Performed by Jason Bauers and Robert Fullex (Crossfire Percussion)

Recorded at SUNY Buffalo, June 2014

small stones (2009)

The latest Sonic Journey, was created by Adrian Utley for a walk amongst the stunning ancient trees at the National Trust's Croft Castle nr Leominster. A beautifully atmospheric video was created by John Minton which also accompanied this track that was available at www.thespace.org until 31.11.13

SJ Adrian Utley (from Portishead)

Trio for Clarinet, Cello and Piano

Solo piano piece, composed on December 30th, 2016 and premiered on December 10th, 2019 at the Steinway Piano Gallery in Mississauga, Ontario, Canada. 
Performed by the composer. 
Inspired by "Farewell to Stromness" by the great Peter Maxwell-Davies, this piece is dedicated to Canadian director and theatre educator Jeannette Lambermont-Morey.

Links: 
Facebook: https://tinyurl.com/u54krea
Twitter: https://tinyurl.com/ub7pszn
Instagram: https://tinyurl.com/t6xuq3g

Her Morning Walk

SUPPORT the artist: paypal.me/LaPesch or https://lapesch.bandcamp.com/track/unease

A day in autumn. Everything is fine. Or at least that is how it seems. Underneath there is unease. Restlessness. Tension. 

Recordings were made in Schönbuch Forest in Tübingen, Germany. You can hear birds, a cat, dogs barking and a dog being walked with a heavy bell around its neck, people and their noises, airplanes, cars... all looking for peace but finding – what?

recordings, composition, mix: Carina Pesch 2020

UNease

В епизода ще научите:

✅ Как е започнал да играе футбол
✅ Кой друг спорт е практикувал
✅ Кой е бил любимият му футболист
✅ С кои номера е играл преди легендарната девятка
✅ Защо отказва да играе за „Милан“
✅ Кой е голът на Гунди, за който казват, че граничи с изкуство

Поредицата „Големите“ разкрива малко известни записи от Златния фонд на Националното радио. В епизод 7 са използвани: 

Записи от интервюта на Георги Аспарухов от 1966-та и 1970-та година
Интервю от 2009 год. с Георги Марков, юрист, бивш член на ФК “Левски”, в което разказва за постиженията на Гунди и за силните му човешки качества - чар, скромност, патриотизъм.

Запис от 2012 година, в който спортният журналист Асен Минчев говори за смъртта на Гунди и Котков и нейното отразяване от медиите през 1970 година.

Oфициалната страница на БНР: facebook.com/bnradio
Последвайте ни в instagram: bit.ly/37NrH6U

Големите - Георги Аспарухов - Епизод 7

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Hi, I am DImitar Pentchev/aka the Sound Convincer. Composer, Pianist and Producer of Music in many genres - Classical, Theatre, Film, Pop, Experimental. 

Her Morning Walk

Sound Convincer

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