My favourite Music Pieces

Gate Study 05a uses samples from the following pieces commissioned by Soundstreams:
- Hatch, Peter "Time Zones" (2010)
- Hui, Melissa "Fred and John Were Having Tea (When I Dropped By)" (2004)
- Ka Nin, Chan "The Charmer" (1994)
- Staniland, Andrew "Hex" (2011)
Check out http://www.soundmakers.ca

Escher Creak (2014)

Chicago Symphony Orchestra
Hannu Lintu, conductor
Ray Chen, violin

Nielsen: Helios Overture, Op. 17

Habitat for amplified prepared string trio, vocoder and objects

WP at Wittener Tage für neue Kammermusik 2022

MELISE MELLINGER - violin, vocoder and objects
GENEVIEVE STROSSER - viola and objects
ÅSA ÅKERBERG - cello and objects

Habitat (2022) - Ensemble Recherche

ok ok ok !! this is the same title and the same main theme... but not the same arrangements :))

Speed Limit (Rock Version )

ok ok ok ! this is the same title and the same main theme... but not the same arrangements :))

Speed Limit (Electro dance version )

A Variety of Hits from the 50's to the 90's !


Parachute Club - Rise Up (Disco Single)

East Winging It - Ft Black Bear

Defined by the Oxford English Dictionary as “a short ceremonious sounding of trumpets, an elaborate welcome,” the fanfare is a form understood by all. The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours. Thirteen new fanfares, in both jazz and classical genres, were commissioned for the occasion from Canadian and Scandinavian composers: Chris Paul Harman, John MacLeod, Gary Kulesha, Ray Luedeke, Alexina Louie, Kelly Marie Murphy, and Andrew Staniland of Canada; Tryggvi Baldvinsson of Iceland; Fuzzy and Jens Winther of Denmark; Anders Hillborg of Sweden; Kirmo Lintinen of Finland; and Rolf Wallin of Norway.

To learn more about Anders Hillborg and his work, please visit our SoundMakers website: http://soundmakers.ca/composers/anders-hillborg


Toronto Fanfare by Anders Hillborg

Charms

Vorwissen
Duration: 7 minutes
Instrumentation:  Piano Trio
Performed by:  The Gryphon Trio
Commissioned by:  Roger D. Moore, for Soundstreams Canada

Dedicated to Karen, Cézanne, and Kuusta

The bedrock of Vorwissen is the retrograde/palindrome problem. In a temporal medium such as music, retrogradation is a concept or sensation, but ultimately an artificial distortion of time.  Presenting material forward and then backward creates a central fulcrum of energy around which material is outwardly distributed.  Movement is made from the beginning toward the centre point (without knowledge of its location or existence), followed by the journey away - tracing unrealistically backward through the material while time moves forward (a 1 2 3 2 1 statement of materials competing against time’s momentum of 1 2 3 4 5 6 7 8 9...).  The mercurial conflict between forward and implied backward motion is like two flints being rubbed together, their friction both complex and inflammatory, outward and inward.  

As well, the contrapuntal overlapping and superposition of normal-form and retrograded materials highlights the issue of objectivity.  Material presented simultaneously in opposite directions (as in Bach’s “crab” canons) implies a predetermination outside of the work.  Otherwise, how would one know the location of the middle and end points that are folded over one another?  Simultaneous and varying attenuations of the primary material heighten the stress of the objectivity, and the conflict with time’s forward momentum.

In a page right out of history, the plethora of retrogradation in Bach’s music is matched only by the palindromes of Olivier Messiaen.  Both are devoutly religious composers, and therein rests the problem that for years necessitated my compositional ban on retrogrades.  Are objectivity and material predetermination metaphors for the “Hand of God” in music?  Are retrogrades and palindromes artistic symbols of faith?  Such backward thinking was the inspiration for Vorwissen.



Vorwissen (excerpt), by Paul STEENHUISEN

Recording of John Kameel Farah's live performance from Roy Thompson Hall during the Toronto Symphony's New Creations Festival, March 7, 2013.
Presented by SoundStreams, as part of Farah's Residency with SoundMakers.

containing orchestral samples from the SoundMakers database; samples from pieces by Andrew Staniland, Peter Hatch, Kelly-Marie Murphy and James Rolfe

http://soundmakers.ca
http://www.soundstreams.ca



Soundscape from New Creations Festival, Mar26,2013 @ Roy Thompson Hall

Soundstreams is a Toronto-based music presenter that commissions, develops and showcases the work of contemporary Canadian composers and their international counterparts. 

Toronto Fanfare by Anders Hillborg

Soundstreams

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