In this episode of Soundmaking we spoke with Norwegian composer Trond  Reinholdtsen about his grandiose opera project "Ø", made under the name of The Norwegian Opra.

http://www.thenorwegianopra.no

Soundmaking Ep. 10: Trond  Reinholdtsen, Ø Arias

for amplified trio: voice, percussion, and violin

performed by Charlotte Mundy, Ellery Trafford, and Marina Kifferstein

recording by David Bird and Laura Cocks

my name is gasoline. i have no thoughts. 
i hold your hand, like you,
i smell bad. i buy pastries now.

call me gasser. i love mud now.
i ground your city, even you, 
i taste it. i burn a million years.

i have no memories. name me that.
i hang.
fake me aren't wet, still you.

i’m strange split portion sin,
guaifenesin, and you all over,
what am i?

loosens in me,
i starnge. without you 
bear too ripen.

bloat. i was all day inside skin.
i was all day now. still rage
plugged inside out. demon eyes was me now.
i was to neptune. i was back.

was (2021)

For this episode of Soundmaking we spoke with Vienna based composer Bernhard Lang about "Monadologie XXXVI Chopin 12 Etudes", a 45-minute work in 12 parts for solo piano. The podcast features the live premier performance of this work, which Daan Vandewalle gave at the  2020 edition of the Transit Festival, in Leuven, Belgium. Thanks to  Transit Festival for allowing us to share this unreleased recording. 

You'll hear an extract from the second part after the intro and a complete performance of the first part at the end.

https://www.bernhardlang.de
http://daanvandewalle.com
https://www.festival2021.be/index.php/transit/agenda

Soundmaking Ep.18: Bernhard Lang, Monadologie XXXVI Chopin 12 Etudes

Feldlinien (2013)

Matteo Cesari (flute)

Tremplin de la création - Philharmonie de Paris 12/03/2022


“Le comte est donc si vain et si peu raisonnable ! Ose-t-il croire encor son crime pardonnable ?’”
Pierre Corneille, Le Cid.
Cette phrase de Don Fernand qui ouvre la scène VI de l’acte II tisse la trame de cette œuvre pour flûte solo.
Reprenant le principe du vers alexandrin, l’interprète développe divers modèles répétitifs et récursifs qui interrompent inopinément sa forme constante.
Ces modèles, caractérisés par une rythmicité idiomatique, renforcent une structure mécanique qui se rétrécit progressivement.
Toute la pièce serpente autour de cette idée maîtresse et le geste instrumental est progressivement lié à la parole humaine.

Scène VI (2014 / revised version 2022)

For French Horn. 
Commissioned by and dedicated to Samuel Stoll.
Home studio recording of the beginning of the composition by Samuel Stoll.

This Body Functions Effectively (2019)- EXTRACT

We spoke with Stefan Prins about his hour long composition Inhabit Inhibit. The work is for 4 spatialized quartets, 6 feedback soloists & live-electronics. The performance is by soloists of Ensemblekollektiv Berlin & ASKO|Schönberg Ensemble, conducted by Baldur Brönnimann. The episode ends with an except of the opening 13 minutes of the work. We warmly recommend you listen to the rest of the performance here -- https://www.youtube.com/watch?v=PkVCB_kq1Lc



http://www.stefanprins.be/eng/index.html

Ep85: Stefan Prins, Inhabit Inhibit

Dedicated to all Iranian people who have been fighting for their human rights for 100 days!

Performer: Parsa Zandi

24.12.2022

"Inexhaustible resistance" - Sitar improvisation

A - P

for ensemble, objects and electronics.
Recording of the premiere at Saint Jean d'Angély by ensembles Ars Nova and Proxima Centauri under the musical direction of Philippe Nahon.

Estela (2017)

Performed by Arditti Quartet and SWR Symphonieorchester on February 8, 2020 at ECLAT Festival.
Conductor: Michael Wendeberg

About the work:

Named after a quotation from an essay written by Tim Rutherford-Johnson, in which he reflects on the research I had conducted at Hagia Sophia and the extent of its possibilities in unlocking the social memories of an architecture, “… like dissolving ancient amber and letting a trapped insect fly away” is a work composed for simultaneous string quartet and large orchestra that was premiered by the Arditti Quartet and the SWR Symphonieorchester in 2020 at the ECLAT Festival.  The work is simultaneous in the sense that it consists of two interdependent works, namely a string quartet and an orchestral work, which can be performed together or as stand-alone works. As such, the string quartet is not conceived as a concertino group, nor is it regarded as an ensemble of two violins, viola, and cello; but rather as a medium based on its own specific collection of gestures and movements.

“… like dissolving ancient amber…” is based on a hybrid structure modeled after the actual architecture of the Fatih Mosque and what I developed as the hypothetical architecture of the Church of the Holy Apostles. The intention behind this hybrid structure was not to simulate or to map out space, or to render a fixed point of observation for a specific narrative, but to develop a sonic-temporal architecture emerging from two spaces, as a form of resistance re-imagined through embodiment.

This Body Functions Effectively (2019)- EXTRACT

Stefan Prins

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