New Music Unlisted 6

Polish Contemporary Art - Fifth Day

Torrente for violin and guitar
Daniel Alvarado Bonilla - 2021
(including J.S. Bach - Adagio from Sonate in C, BWV 1005)

Odradek Duo
Andria Chang - Violin
Julián Restrepo - Guitar

This piece was written in memory of my friend Samir Alejandro Yahuar (1984-2021).

Torrente

Bestiario pour guitare, piano et trio a cordes
Daniel Alvarado Bonilla (2019)

Commande de Radio France pour l'émission "Création Mondiale".
Score published by : Babel Scores 
https://www.babelscores.com/fr/DanielAlvaradoBonilla

-I. Enérgico
-II. Calmo, nocturno
-III. Fluído, alucinatorio
-IV. Calmo, misterioso
-V. Contínuo, como una toccata

Ensemble Almaviva
Pablo Márquez - guitar
Ezequiel Spucches - piano
Ana Millet - Violon
Lucía Peralta - Alto
Louis Rodde - Violoncelle

Enregistrement fait à la Seine Musicale (Boulogne Billancourt) le 12 septembre 2020.

Bestiario

Low-fi delirium for alto flute, bass clarinet, vibraphone and electronics
Daniel Alvarado Bonilla - 2022
Œuvre commandée par l'Ensemble Sillages et l'Ensemble der/gelbe/klang, avec le soutien du Ministère de la Culture - DRAC Bretagne. 

Julie Brunet-Jailly - alto flute
Hugo Clédat - bass clarinet
Jean-Baptiste Bonnard - vibraphone

Recorded by engineer Alexandre Chaigne at Music Unit Studios (Montreuil, France)

In Low-fi Delirium, most of the electronics consist of sounds that come from real "vintage" keyboard instruments such as the mellotron, the optigan and the Rhodes electric piano. In some ways this piece pays homage to the psychedelic music and delirious times of the sixties. 

The sounds of these analog instruments have always inspired me since I was a teenager and I have always thought of using them outside of their usual musical context (that of rock, pop or jazz). Although nowadays there are very powerful digital keyboards and softwares created to simulate these instruments, there is nothing, in my opinion, like the real machines – with their charming flaws and their analog sound qualities. The mellotron is an instrument in which each key triggers the playback of a magnetic tape which contains a real pre-recorded instrumental sound. It is in a way the analog ancestor of the digital sampler. The mellotron's pre-recorded sounds have a rudimentary "cheap" and almost “kitsch” sound quality. It is precisely this characteristic which, in my opinion, gives the mellotron its charm and potential! I wanted to use these sounds in order to establish an interaction, a dialog with the three acoustic instruments. This is how each instrument of the ensemble will be enlarged by its mirror or by its "low-fi" electronic alter ego. The pre-recorded mellotron sounds will be the electronic doubles of the wind instruments, while the bell or celesta type sounds of the Rhodes will weave a link with the vibraphone. Alongside these electronic instrumental sounds there are other “vintage” and “concrete” vinyl crackle noises, old clocks ticking, radio interferences...

Low-fi delirium

Aurum Trio:
Agata Nowak - violin
Marianna Sikorska - cello
Andrzej Karałow - piano
check out also my Facebook Fanpage www.facebook.com/andrzejkaralow
Piano Trio (2014)
I. Allegro
II. Andante
III. Largo
IV. Presto e veloce

sound engineers:
Małgorzata Napiontek, Igor Szymański

www.andrzejkaralow.pl

Andrzej Karałow (*1991) - Piano Trio (2014)

Arne Nordheim Flashing

P. Scheller - didgeridoo & live-electronics
***
Yiri is a mythical 'songline' with its origin in Aboriginal culture. It is an abstract road through the desert, which is recognised by constant chanting of songs of the ancestors. Knowing that songs enables Aborigens to get closer to spirits and 'Dreamtime' – when everything what is was created.

I was deeply touched by this great connection between music and spirituality. I decided to compose piece for didgeridoo – native Australian instrument – and enhance its possibilities with live-electronics programmed in Max/MSP. Throughout the piece, the listener is pulled deeper and closer the abstract point and in culmination he is sorrounded by a mixture of sound and space.

Yiri

Los Senderos se Bifurcan pour violoncelle et grand ensemble
Daniel Alvarado Bonilla - 2016

Cameron Crozman - Violoncelle
David Reiland - Direction
Orchestre des Lauréats du Conservatoire
Enregistrement Live / CNSMDP Salle d'Art Lyrique - 4 Octobre 2016

Dans Los Senderos se Bifurcan, la forme concertante m'a permis de travailler pour la première fois sur l'interaction, l'opposition et la convergence entre le soliste et l'ensemble instrumental. La structure de l'œuvre s'articule autour de quatre mouvements qui s'enchaînent. L'ensemble anticipe le matériau exposé par la ligne du soliste ou crée une sorte de réponse/conséquence à celui-ci. L'univers sonore du violoncelle est alors élargi, voire multiplié par le groupe instrumental. De même, l'ensemble peut établir une situation d'opposition, prenant un sentier différent et contrastant. En dehors de ces idées strictement formelles, il y a eu d'autres éléments qui m'ont accompagné pendant le processus (labyrinthique) de la composition de l'œuvre : la lecture de Borges, le chant d'oiseaux de la colline de Montjuïc à Barcelone, ainsi que le souvenir de mon grand-père, Ricardo Alvarado Pantoja (1928 – 2016), à qui cette pièce est dédiée.

Los Senderos se Bifurcan

Totem
pour contrebasse et électronique
Daniel Alvarado Bonilla - 2018

Louis Siracusa - Contrebasse
Enregistrement Live / Centquatre Paris - Festival Manifeste
16 juin 2018

Evocation d’une cérémonie tribale, presque onirique. 
La contrebasse est l’objet rituel. De celui-ci émanent les incantations, des éclats d’énergie et de lumière qui éclairent la nuit ; des rythmes lancinants et des sonorités percussives qui cherchent à nous conduire au paroxysme hallucinatoire.

Totem

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

ᴀ ᴄᴏᴍᴘᴏsᴇʀ, ᴀ sᴏᴜɴᴅ ᴀʀᴛɪsᴛ & ᴀ ɢʀᴀᴘʜɪᴄ ᴅᴇsɪɢɴᴇʀ ʙᴏʀɴ ɪɴ 1990 ɪɴ Kʀᴀᴋᴏ́ᴡ, Pᴏʟᴀɴᴅ.

//      Hɪs ᴍᴀɪɴ ꜰᴏᴄᴜs ʟɪᴇs ᴏɴ xᴇɴʜᴀʀᴍᴏɴʏ ᴀɴᴅ ɴᴇᴜʀᴏæsᴛʜᴇᴛɪᴄs ɪᴍᴘʟɪᴇᴅ ɪɴ ɴᴇᴡ ɪɴsᴛʀᴜᴍᴇɴᴛs ᴅᴇsɪɢɴ & ᴄᴏɴsᴛʀᴜᴄᴛɪᴏɴ, ᴀs ᴡᴇʟʟ ᴀs ʙᴜɪʟᴅɪɴɢ sᴏᴜɴᴅ ɪɴsᴛᴀʟʟᴀᴛɪᴏɴs. Sᴛʀᴢᴇʟᴇᴄ ɪs ᴀ ғᴏʟʟᴏᴡᴇʀ ᴏꜰ ᴀɴᴛɪ-ᴀɴᴛʜʀᴏᴘᴏᴄᴇɴᴛʀɪᴄ, ᴘᴏsᴛʜᴜᴍᴀɴ sᴜʙᴊᴇᴄᴛɪᴠɪᴛʏ ᴛʜᴇᴏʀʏ ᴡʜɪᴄʜ sᴛᴀʏs ɪɴ ᴀᴄᴄᴏʀᴅᴀɴᴄᴇ ᴡɪᴛʜ ʜɪs « ɴᴏ-ᴍᴇᴀɴɪɴɢ-ʙᴜᴛ-ɪɴ-ʀᴇsᴏɴᴀɴᴄᴇ » ʀᴜʟᴇ.

//      Iɴ 2017, ᴅᴜʀɪɴɢ ROSTRUM+ ᴄᴏᴍᴘᴇᴛɪᴛɪᴏɴ (ʜᴇʟᴅ ɪɴ Pᴀʟᴇʀᴍᴏ, Iᴛᴀʟʏ) ʜɪs « L’Aᴛᴇʟɪᴇʀ ᴅᴇ sᴇɴsᴏʀɪᴛᴇ́ » ᴡᴀs ʀᴀᴛᴇᴅ sᴇᴄᴏɴᴅ ʙᴇsᴛ ʙʏ 29 ɴᴀᴛɪᴏɴᴀʟ ʀᴀᴅɪᴏ ɴᴇᴛᴡᴏʀᴋs ғʀᴏᴍ 4 ᴄᴏɴᴛɪɴᴇɴᴛs, ᴛʜᴜs ᴡɪɴɴɪɴɢ ᴀ ʀᴇᴄᴏᴍᴍᴇɴᴅᴀᴛɪᴏɴ ᴏғ ᴛʜᴇ Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ Rᴏsᴛʀᴜᴍ ᴏғ Cᴏᴍᴘᴏsᴇʀs (ᴄᴀᴛᴇɢᴏʀʏ ғᴏʀ ᴀʀᴛɪsᴛs ᴜɴᴅᴇʀ 30 ʏᴇᴀʀs ᴏʟᴅ). Tʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴀʟsᴏ ᴍᴀᴅᴇ ɪᴛ ᴛᴏ ᴛʜᴇ ᴛᴏᴘ ᴛʜʀᴇᴇ ᴏɴ ᴛʜᴇ ᴀɴɴᴜᴀʟ ᴄʜᴀʀᴛ ᴏғ ᴛʜᴇ ᴍᴏsᴛ ɪɴᴛᴇʀᴇsᴛɪɴɢ ᴄᴏɴᴛᴇᴍᴘᴏʀᴀʀʏ ᴘɪᴇᴄᴇs ᴀᴄᴄᴏʀᴅɪɴɢ ᴛᴏ Dᴀɴᴍᴀʀᴋs Rᴀᴅɪᴏ Kʟᴀssɪsᴋ. 

//     Sɪɴᴄᴇ 2012, STRZ's ᴡᴏʀᴋs ʜᴀᴠᴇ ʙᴇᴇɴ ᴘᴇʀғᴏʀᴍᴇᴅ ʙʏ ᴇɴsᴇᴍʙʟᴇs ғʀᴏᴍ Bᴇʟɢɪᴜᴍ, Dᴇɴᴍᴀʀᴋ, Fʀᴀɴᴄᴇ, Gᴇʀᴍᴀɴʏ, Iᴛᴀʟʏ, ᴛʜᴇ Nᴇᴛʜᴇʀʟᴀɴᴅs, Pᴏʟᴀɴᴅ, Sᴘᴀɪɴ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, Uᴋʀᴀɪɴᴇ ᴀɴᴅ ᴛʜᴇ USA — ᴅᴜʀɪɴɢ ᴍᴀɴʏ ʀᴇɴᴏᴡɴᴇᴅ ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ꜰᴇsᴛɪᴠᴀʟs sᴜᴄʜ ᴀs:

• Wᴀʀsᴀᴡ Aᴜᴛᴜᴍɴ (Pᴏʟᴀɴᴅ, 2014, 2015, 2017),

• CIME / ICEM ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ ᴍᴜsɪᴄ ғᴇsᴛɪᴠᴀʟ & ᴄᴏɴғᴇʀᴇɴᴄᴇ ɪɴ Dᴇɴᴛᴏɴ (Tᴇxᴀs, USA, 2014),

• Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇʀ Mᴜsɪᴋᴛᴀɢᴇ: NEXT GENERATION ᴘʀᴏɢʀᴀᴍᴍᴇ (Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇɴ, Gᴇʀᴍᴀɴʏ, 2014), 

• JIMEC — Lᴇs Jᴏᴜʀɴᴇ́ᴇs Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟᴇs ᴅᴇ ʟᴀ Mᴜsɪǫᴜᴇ Éʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪǫᴜᴇ ᴇᴛ ᴅᴇ ʟᴀ Cʀᴇ́ᴀᴛɪᴠɪᴛᴇ́ (Aᴍɪᴇɴs, Fʀᴀɴᴄᴇ, 2015),

• Mᴜsɪᴄᴀ Pᴏʟᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016),

• TAURON Mᴜsɪᴄᴀ Eʟᴇᴄᴛʀᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016, 2019),

• Yᴏᴜɴɢ Cᴏᴍᴘᴏsᴇʀs Mᴇᴇᴛɪɴɢ (Aᴘᴇʟᴅᴏᴏʀɴ, Nᴇᴛʜᴇʀʟᴀɴᴅs, 2017),

• Mᴜ́sɪᴄᴀ ᴇ ᴀʀᴛᴇ: ᴄᴏʀʀᴇsᴘᴏɴᴅᴇɴᴄɪᴀs sᴏɴᴏʀᴀs (Sᴀɴᴛɪᴀɢᴏ ᴅᴇ Cᴏᴍᴘᴏsᴛᴇʟᴀ, Sᴘᴀɪɴ, 2017)

• Cᴏᴍᴘᴏsᴇʀ Cᴏʟʟɪᴅᴇʀ 2018 ᴡɪᴛʜ ᴇɴsᴇᴍʙʟᴇ ᴍᴜsɪᴋFᴀʙʀɪᴋ ᴘʟᴀʏɪɴɢ Hᴀʀʀʏ Pᴀʀᴛᴄʜ ɪɴsᴛʀᴜᴍᴇɴᴛs (Kᴏ̈ʟɴ, Gᴇʀᴍᴀɴʏ, 2018), 

• CODES: Fᴇsᴛɪᴠᴀʟ ᴏғ Tʀᴀᴅɪᴛɪᴏɴᴀʟ ᴀɴᴅ Aᴠᴀɴᴛ-ɢᴀʀᴅᴇ Mᴜsɪᴄ (Lᴜʙʟɪɴ, Pᴏʟᴀɴᴅ, 2018),

• BEM18 (Bʀᴜssᴇʟs Eʟᴇᴄᴛʀᴏɴɪᴄ Mᴀʀᴀᴛʜᴏɴ 2018, Bᴇʟɢɪᴜᴍ),

• Fᴇsᴛɪᴠᴀʟ Mɪᴋʀᴏᴛᴏ̈ɴᴇ (Bᴀsᴇʟ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, 2019),

• EsᴛOᴠᴇsᴛ Fᴇsᴛɪᴠᴀʟ – Lᴇ Sᴛʀᴀᴅᴇ ᴅᴇʟ Sᴜᴏɴᴏ (Gᴇɴᴏᴠᴀ, Iᴛᴀʟʏ, 2020)

...ᴀɴᴅ ᴍᴀɴʏ ᴏᴛʜᴇʀs.


//    STRZ ɪs ᴀʟsᴏ ᴛʜᴇ ᴄᴏ-ғᴏᴜɴᴅᴇʀ ᴏғ ᴀ ᴘᴏʟɪsʜ ɴᴀᴛɪᴏɴᴡɪᴅᴇ ᴄᴏɴғᴇʀᴇɴᴄᴇ ғᴏʀ ɴᴇᴡ ᴍᴜsɪᴄ ᴀɴᴅ sᴏᴜɴᴅ ᴀʀᴛ ELEMENTI, ᴏʀɢᴀɴɪsᴇᴅ ᴀɴɴᴜᴀʟʟʏ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ.

//    Hᴇ ʜᴀᴠᴇ sᴛᴜᴅɪᴇᴅ ᴄʟᴀssɪᴄᴀʟ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴜɴᴅᴇʀ Zʙɪɢɴɪᴇᴡ Bᴀʀɢɪᴇʟsᴋɪ (2011-2014) ᴡɪᴛʜ ᴇɴʜᴀɴᴄᴇᴅ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ & ᴀʟɢᴏʀɪᴛʜᴍɪᴄ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴘᴇᴄɪᴀʟɪsᴀᴛɪᴏɴ ᴜɴᴅᴇʀ Mᴀɢᴅᴀʟᴇɴᴀ Dʟᴜɢᴏsᴢ (2015-2020) ᴀᴛ ᴛʜᴇ Kʀᴀᴋᴏ́ᴡ Aᴄᴀᴅᴇᴍʏ. Mᴏʀᴇᴏᴠᴇʀ, ʜᴇ ᴘᴏʟɪsʜᴇᴅ ʜɪs sᴋɪʟʟs & ᴄʀᴀғᴛ ɪɴ ᴛʜᴇ ᴄᴏᴜʀsᴇ ᴏғ ɴᴜᴍᴇʀᴏᴜs ᴍᴀsᴛᴇʀᴄʟᴀssᴇs, ᴍᴏsᴛ ɴᴏᴛᴀʙʟʏ ᴅᴜʀɪɴɢ ʟᴇssᴏɴs ᴡɪᴛʜ Cᴀsᴘᴀʀ Jᴏʜᴀɴɴᴇs Wᴀʟᴛᴇʀ, Mᴀʀᴋ Aɴᴅʀᴇ, Cʟᴇᴍᴇɴs Gᴀᴅᴇɴsᴛᴀ̈ᴛᴛᴇʀ, Jᴇɴɴɪғᴇʀ Wᴀʟsʜᴇ, Eɴɴᴏ Pᴏᴘᴘᴇ, Sᴛᴇғᴀɴ Pʀɪɴs, Jᴏʜᴀɴɴᴇs Kʀᴇɪᴅʟᴇʀ, Zʏɢᴍᴜɴᴛ Kʀᴀᴜᴢᴇ, Mᴀɴᴏs Tsᴀɴɢᴀʀɪs, Uʀᴏš Rᴏᴊᴋᴏ, Rɪᴄʜᴀʀᴅ Aʏʀᴇs, Jᴏᴇ Cᴜᴛʟᴇʀ, Mᴀʏᴋᴇ Nᴀs ᴀɴᴅ Oʟɪᴠᴇʀ Sᴄʜɴᴇʟʟᴇʀ. 

//    Iɴ ᴛʜᴇ ʏᴇᴀʀs 2012-2016 STRZ sᴇʀᴠᴇᴅ ᴀs ᴛʜᴇ ʜᴇᴀᴅ ᴏғ ᴛʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴛᴜᴅᴇɴᴛs’ ᴄɪʀᴄʟᴇ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ, ᴏʀɢᴀɴɪsɪɴɢ ɴᴜᴍᴇʀᴏᴜs ᴄᴏɴᴄᴇʀᴛs, ᴄᴏɴғᴇʀᴇɴᴄᴇs ᴀɴᴅ ᴅᴇʟɪᴠᴇʀɪɴɢ ᴏᴘᴇɴ ʟᴇᴄᴛᴜʀᴇs.

minor differences (2019)

Szymon Stanisław Strzelec