Beautiful guitar track

Get it as part of The Master Podcast Bundle: www.909-music.com

Arnav Srivastav - Beautiful Sunset (Get it on www.909-music.com)

South Pacific Migration Party

In 1984 I spent an intense few months working on a new piece for retuned pianos written by my dear friend and mentor, the late James Tenney. This piece, Bridge, was scored for two pianos, eight hands, and was premiered at New Music America 1984 in Hartford, CT. The performers were myself, James Tenney, Casey Sokol, and Gordon Monahan. The two pianos are tuned to a 22-tone just intonation, resulting in a tuning system of amazing depth.

This is from an old cassette I just now digitized so it does have some "wow & flutter" to it. But not too bad after 30 years!

[Tenney] Bridge, excerpt (1984)

A live improvisation by D.A.Wilson on an extremely rare 1982 Buchla 400-T computer controlled 6-voice hybrid synth (digital "arbitrary" oscillators into analog filters) running MIDAS-III complete with flat pressure sensitive Touch Controller housed in a custom Teak solid wood cabinet awakens during return to operation and overhaul and Lotharek Rev.F HxC virtual floppy disk retrofit at Hideaway Studio.

The touch keyboard was a nightmare to get used and it took a great deal of my concentration to perform this as the pressure-to-pitch modulation was pretty intense on the patch I'd dialled in that day but it certainly resulted in something from the heart.  The highly responsive playing surface opens up some interesting possibilites for expressive patch design and playing!

Original Composition & Recording Copyright D.A.Wilson, Hideaway Studio 2015.

1982 Buchla 400 Awakens: Haute Tension

Abyssus Ascendens ad Aeternum Splendorem for piano, orchestra, electronics.
(the Ascending Abyss to the Eternal Brightness) 

In accordance with certain Hebrew mysticism, the Heaven is divided in seven kingdoms, each one ruled by one Angel. 
The Seventh Heaven, ruled by the Angel Cassiel, is the most sacred of these places. This the kingdom where God inhabits. 
Underneath of the Throne of Glory is the Chamber of Guf (Hebrew word for "body"). This chamber is the house of all the souls of human beings not yet  born. 
In the New Testament, Jesus Christ mentions the place of comfort and happiness after death, Abraham’s Bosom, also known as the Limb of the Fathers. And, according to some Hebrew-Christian traditions, this is the place where the just human soul goes after death, while it waits the Final Judgment. 
Faith is the power that takes the soul in its journey from the descending of the Guf, through the earthly existence, and finally into the Limb of the Fathers. 
Faith is also described by Simone Weil, as being an Ascending Abyss. It is abysmal because it pushes the human being into a state of higher perfection. It is ascending and its vortex culminates in a higher sphere, the Eternal Brightness. 
The form of the piece was suggested by a visit to the Convent of the Capuchos, in Sintra, Portugal. The paths inside of this convent takes us through the sad and dark altars of the low area, till we reach an ascending path where we find multiple references to the symbolism of the Cross. Finally the path ends in the higher altar of the Convent, almost at the top of the mountain. There, the shady environment of the “earthly” sections of the convent is replaced by brightness and light. 
This is what inspired this piece.

Interpreters:
Orquestra Filarmonia das Beiras
António Lourenço - Conductor
Ana Telles - Piano
João Pedro Oliveira - Electronics

Abyssus Ascendens ad Aeternum Splendorem

serge solo, one patch, three passes

from the album "alone"

get away

This work is part of a cycle of four works related to representations of the four elements in the Old Testament. Neshamah means “breath” and is inspired in the following biblical text:
Then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature (Genesis 2:7).
This piece was commissioned by the Ibermúsicas Project and was composed at the Centro Mexicano para la Música y las Artes Sonoras and at the Centro de Pesquisa em Música Eletroacústica of Federal University of Minas Gerais. It received an honorable mention at the Concours International de Composition Electroacoustique de Monaco 2016 and at the Destellos Competition 2016.
Also check the version with video at:
https://youtu.be/RIzLRAQ9h0M

Neshamah

This is an open instrumentation and voice improvisation on a poem by August de Campos.

Improvisation on a poem by Augusto de Campos

From Text-Sound Compositions by Stephen Ruppenthal
Mastered at Big Red Studios, Bainbridge Island, WA

Voice: Linda Leudtke
Processing and electronic score: Stephen Ruppenthal

Text-Sound Compositions - 1970's

Kakao-Poetic Lippudenies of the Ungumptious (1975)

I have often thought of myself as a collector, or perhaps more accurately a hoarder, of sounds. These sounds come from a number of sources including household items, children’s toys, musical instruments, and environmental recordings. The act of manipulating these sounds and placing them in a musical context is a process that relies both on compositional strategies and software tools that I have developed. This work represents one possible result when left to my own devices.

When Left To His Own Devices

solo on serge analog modular system.

from the CD "alone"

Kakao-Poetic Lippudenies of the Ungumptious (1975)

Paradigm Media

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