Organic Percussive

LITHOPHONE / Litófono Hobita / GorjFest2013/ Targu-Jiu, Rumania/Romania.
author: Josep Cerdà / performer: Martí Ruiz
sound sculpture / sculpture sonore /escultura sonora
sound art / art sonore /arte sonoro

+Info- www.artsonor.net

[LITÒFON HOBITA]escultura sonora de Josep Cerdà interpretació Martí Ruids [Targu-Jiu] Rumania 2013

Marc Guillerot: voice
Alex Kittel: drums & percussions 
Live in Limoges at "mais l'usine" 2006

AKAMAGU Les Danses De Salons - (Guillerot-Kittel)

Please use headphones or nice speakers with a subwoofer and keep in mind soundcloud, unfortunately, really compresses this file.

The electronics blooming from the acoustic in a symbiotic, intertwined creature like lichen.

Speaker Spit (2021-22) for large ensemble and electronics

"Copia carbone" (2022, for ensemble)
Commissioned by Ensemble Proton Bern, in the frame of Protonwerk n.11. 
Instrumentation:  B.Fl, Lup, C.Cl, Bsn (+Cf), Midi ctrl, Hp, Vn, Vc
Live Recording:  15 March 2022 @ Dampfzentrale, Bern (CH), WP
Ensemble Proton Bern, Aaron Cassidy (cond.)
Score published by Ricordi, Milan.

Copia carbone (2022)

https://www.stefanogervasoni.net/index.asp?page=catalogue&id=128&cat=vocal

for: mixed choir and live electronics
detailed instrumentation: S.S. A.A. T.T. B.B. (24-32 singers)
duration: 50'
commission: Ministère de la Culture (France) - IRCAM
first performance: 11.6.22, Milan, San Marco church, Milano Musica 2022, SWR Vokalensemble Suttgart, Yuval Weinberg (conductor), Thomas Goepfer, Benoît Meudic (IRCAM sound designers)
publisher: Ricordi
catalogue number: 142110

DeTinieblas - SWR Vokalensemble, IRCAM, Yuval Weinberg  - live, Paris 18.06.2022

Field recording taken by IB at the Antique Market/Mercatino delle Cose d'Altri Tempi, Piazzola sul Brenta (Padua). Group of college students' open air performance.
This market is one of the biggest in Europe.

Poem 'Make Me Ready' by IB from the in progress new book

'Make me ready for the arrival of the rain
which is expected heavy but needed.
Show me what I can get rid of
pruning shrubs along the fluvial corridor.
And if we must leave 
the fourth industrial revolution behind
its augmented social reality 
to repair our notion of mortality
help me not to falter.
We may remain one day, one last day.'

'Preparami all’arrivo della pioggia
che si prevede intensa ma necessaria.
Mostrami ciò di cui sbarazzarmi
potare gli arbusti lungo il corridoio fluviale.
E se dobbiamo lasciarci alle spalle
la quarta rivoluzione industriale
la sua aumentata realtà sociale 
per poter recuperare la nozione di mortalità
aiutami a non vacillare.
Potremmo rimanere un giorno, un ultimo giorno.'

Make Me Ready

synthesisers played by Ken Ikeda
trombone & feedback played by Edward Lucas

recording, mix & photographs by E.Lucas
mastered by Rupert Clervaux
design by Earshots

recorded in 2018 at Lock Down Studios in the lost tower hamlet of Ratcliff

EAR014 - Ken Ikeda / Edward Lucas - Lost & Found [sample]

12 clarinets (4 basses, 2 basset horns, 6 Bflat clarinets)

performed by Jérôme Voisin and his students

13/05/23, Boulogne-Billancourt (FR)

photo ©BChampeaux

Byword (2023) | 12 clarinets

Wing Flap Sound Effect from Pixabay: https://pixabay.com/sound-effects/

Unveiling Naviarhaiku503

Live recording of hand werk at John Knowles Paine Concert Hall, Harvard University, in March 2014.

The performers are Heather Roche (bass clarinet), Niklas Seidl (cello) and Jonathan Hepfer (percussion).

http://www.chrisswithinbank.net/2012/06/the-incredulity-of-st-thomas/

The Incredulity of St Thomas (hand werk)

Mariachiara Grilli, piano
Luciano Berio: Sequenza IV (1966)
06.02.2015, recorded in Castelfidardo, Italy

Luciano Berio (1925-2003): Sequenza IV (1966)

A Prayer in the Dusk for Trombone Solo (2015)

●Trombone : Barrie Webb
●2015.10.14＠Changwon Sungsan Art Hall in Korea(昌原城山アートホール)


A Prayer In the Dusk for Trombone Solo

https://piotrdabrowski.bandcamp.com/album/wysz-o-z-boru

PL:

Wiersz Bolesława Leśmiana, który stanowił inspirację dla tego wydawnictwa towarzyszył mi przez kilka miesięcy stając się punktem wyjścia dla stworzenia muzyki mogącej stanowić soundtrack dla podróży przez bór, który opuszcza dziwaczne zwierzę powołane do życia przez poetę, jak również dźwiękową interpretację uczuć znajomych współczesnemu człowiekowi: chaosu, bezradności, prób zrozumienia otaczającej rzeczywistości - niezwykle złożonej i dynamicznie się zmieniającej - i odnalezienia się w niej na wielu płaszczyznach.

Od strony muzycznej wszystkie utwory powstały na drodze eksperymentu i improwizacji z użyciem cyfrowego, analogowego i akustycznego instrumentarium.

EN:

The poem by Bolesław Leśmian, which inspired this album, accompanied me for several months, becoming the starting point for creating music that could become a soundtrack for traveling through the forest, which is being left behind by the bizarre animal brought to life by the poet, as well as a sound interpretation of the feelings familiar to modern people: chaos , helplessness, attempts of understanding the surrounding reality - extremely complex and dynamically changing - and finding our place in it in many aspects.

On the strictly musical side, all tracks were created through experimentation and improvisation using digital, analog and acoustic instruments.

Zmrocze

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.

"... like dissolving ancient amber and letting a trapped insect fly away."

https://www.stefanogervasoni.net/index.asp?page=catalogue&id=129

for: large ensemble
detailed instrumentation: flute (also G-flute), oboe (also English horn), clarinet in B flat (also bass clarinet), bassoon (also contrabassoon), horn in F, trumpet in B flat (also piccolo trumpet in B flat), trombone, percussion I, percussion II, harp, piano (also celesta - five octaves), violin I, violin II, viola, violoncello, double-bass (five strings)
duration: 21'
commission: Ensemble InterContemporain
first performance: 4.9.20, Paris, La Scala, Ensemble InterContemporain, Matthias Pintscher (conductor)
publisher: Edizioni Suvini Zerboni
catalogue number: S. 16215 Z.

Eufaunique - 1st and 2nd part - Ensemble InterContemporain, M. Pintscher -  live. Paris 3.9.20

One is too few, and two is only one possibility.

I write music and occasionally about music.

The Incredulity of St Thomas (hand werk)

Chris Swithinbank

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