I don’t want to play this game no more – My Name is Bobby
Dedicated to little ones living with adult fears
written/published November 11, 2006

My name is Bobby;
Although you never hear me speak,
I’ve lots to say.
Even though you never see me smile
Deep inside I’m still your child.
Although you don’t know my name,
I breathe in and out just the same.
This game you play,
I don’t know the rules,
I go to school,
and I try to be,
The child you dream …
One foot forward and two steps back,
you did it wrong now take that slap.
Get off the floor you silly fool;
Go cry your tears into Winnie the Pooh.



Concert

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

"...in other news" is a piece for a percussion quartet and electronics, dedicated to all known and unknown children that have suffered abuse. The electronic part is based on a poem by author Rebecca Burns.
Performed by University of Buffalo percussion ensemble. Live recording, may 3rd, 2014

...in other news

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

A Glass House, for Alto Flute, Bass Clarinet, Violin, Violoncello, Percussion and Piano.
A Glass House is inspired by a Tomas Tranströmer poem called “Allegro”:

I play Haydn after a black day
and feel a simple warmth in my hands.

The keys are willing. Soft hammers strike.
The resonance is lively, calm and green.

The sound says that freedom exists
and someone pays no tax to Caesar.

I shove down my hands in my Haydnpockets
and imitate a person looking calmly at the world.

I hoist my Haydnflag - it means:
"We never give up. But want peace. "

The Music is a glass house on the slope
where the stones fly, the stones roll.

And the stones roll right through
but each glass pane remains intact.



A Glass House

I had a dream.
The Sun rose thunderously above the level horizon. The iron flowers gleamed.
The stone grass threw its longer shadows, leaning on the scorched earth.
everything was symmetrical even the absence of Memory.
Everything was uniformly trimmed – the former sea with former waves included.
and only a mysterious and made of plastic silhouette was standing, looking with no eyes, even plastic ones. there were no nuances there were no contrasts. evenly cut, fiery-merciless light.
Rivers were incredulously solid,
surprised in an instant of impetuousness. Even sin was dead because there was no good or bad
because everything was dead as nothing else.
Wherever.
There were no somewheres.
There were no somewhens.
there was not a being.
there was only a plastic silhouette. Death waded slowly into the petrified grass and off its scythe with metal hiss fell crystal flowers. Behind was only sand. No footsteps. Death was satisfied.
Silent but content. It had been waiting, patiently,
sometimes in small and dark, and hidden crevices.
Sometimes was under beds of couples making love.
gathering tremendous strength.
Man was restless.
His left hand warned his right that many things were dying when touched.
His right ear was faintly catching whiff of weird stories.
About premonitions.
Faded dreams. And lifeless goals. Assumed tomorrows and procrastinations of the soul.
Then Death stood up and petrified every living thing.
People froze in mid-smiles, half-questions on their faces.
Birds, like nailed to the sky, were fixed.
Death just continued to mow every sign of life once lived.
Ever more leveled. No more. No less.
In the end there was just sand.
Fine, almost colourless. Hot. Sand...
I had a dream.
A dream had me.


Silhouette Of Symmetry

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)

New piece for Clarinet, Violin, Cello and Piano. Performed live at "June in Buffalo" festival in 2012.

New York Times has this to say about the piece: 

"Dimitar Pentchev’s “1:05” (2012), for clarinet, violin, cello and piano, begins haltingly but evolves into a driven, tight-knit conversation in which all four instruments have ample time in the spotlight and difficult, showy lines to play."

1:05

Trio for Clarinet, Cello and Piano

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

Two people trying to talk to each other. They seem to speak a common language but the understanding is missing. At the end...listen to find out what happens.

Conversations for Violin and Piano

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
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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. 

...in other news

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