Louilarpprasert - Phantasmagoria (2020) for bass clarinet, violin, cello and piano

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performed by Tacet(i) Ensemble
Phataporn Preechanon (flutist)
Christhatai Paksamai (clarinet)
Pisol Manatchinapisit (voice)
Kantapong Rakbankerd (percussion) 
Korn Rungreungchai (violin)

Miles Friday - Simple Music

performed by Tacet(i)in 2014 (phone recording)

Louilarpprasert - Lunatic (2014)

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Whatever makes you happy (2017) for ensemble
The traditional piano concert is very familiar to our ears. But how do we define a contemporary piano concert? What is the role of the soloist and the group? How can these powers come together, complement each other and win equality in sound?
My wish, from the beginning of the composition, was to give to the piano a “solo” role, but give to the ensemble the same importance as well. Originally, the piece was conceived as a sextet, but in order to maintain this sound “equality”, it ended as a quintet, as percussion instruments are distributed to all the performers.

Eleni Ralli - Whatever Makes You Happy (2017) For Ensemble

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Secret Music One (2020) for flute, clarinet, saxophone, trombone, percussion, piano, and cello “不可說，不可說”
The quoted description above are often found in the Buddhist sutras where and when rationality falls apart, and something becomes inconcievable; the 'idea' of infinity or boundlessness are some examples of such. This work comes in several independent musical parts for three groups of musicians:
1) Pulsing group: flute and trombone are moving around the concert hall as a procession setting the pulse for other groups to play their materials.
2) Melody group: clarinet, saxophone, and cello are playing in front of the large screen showing the Big Score, with 2 small screens showing ‘secret instructions’. The Big Score will be scrolled through remotely and independent of this group while the 'secret instructions’ are individually controlled by members of this group.
3) Anti-group: pianist and percussionist playing 2 or more different keyboard percussions has a set of chords to execute, always setting up anti-pulses to the pulsing group with the aim of disrupting and taunting them constantly.
As a result of this game-like desgin, there is not one group that is in full control of the trajectory of the music, although the work has been designed to unfold lineraly in time. This works seeks to explore the interdependency of musical elements at work in music making.

Hoh Chung Shih - Secret Music One (2020) for ensemble Tacet(i)

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Cymatics (2018) for cymbal with amplification
Cymatics is an acoustic sound composition written for Portuguese percussionist Nuno Aroso. The piece is performed with two custom made long, thin and elastic sticks named Flex Strike on a ride cymbal with deep lathing finish. In addition, the amplification reveals deep resonant sound and rich textures. Although I notated Cymatics using the time construct by means of measures and beat subdivisions, I was composing it with no time in mind. I was just aware of listening to the sound completely decoupled from time. In Cymatics I was looking for sonic models such as sweep, whoosh, tremolo, rotation, chirp, glissando, squeaky, rattle, pulse, roll, and slide.

Panayiotis Kokoras - Cymatics (2018) for cymbal

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North Star (2018) for solo flute with electronic
Whitfield (1822-1871). Like many other African-American intellectuals of his time period, they have been forgotten in the annals of history. However, the lessons that these poets and intellectuals teach us are still relevant to this day. Although they were writing in the context of 19 th century America and the Civil War, many of the themes ring true to this day in different forms. Even though laws can forbid slavery, African- Americans know that it does not mean equality (see for example the Jim Crow Laws) as there is still a large gap of inequality today.
In the rest of the world, we might not have the same context but these themes are still as relevant back then as they are today. The migrants from warzones such as Syria and Eritrea could closely relate to this type of poetry. All immigrants or minorities that that have felt a form of discrimination can also understand. The working poor families that cannot do anything to better their situation as well. Therefore, this composition is dedicated to these groups and many more. To all people, of all faiths that have felt discrimination. We all need a North Star that can give us faith for a better future. The piece is also dedicated to all the nameless souls that have fought for our civil rights and liberties in all cultures.
The piece uses electronics which are done in real-time. Unlike the older tape pieces, this piece uses a real- time score follower which gives the performer much more freedom, and the electronics much more flexibility. This permits the performer to put his/her own personality in the piece much more, as well as allowing the piece to be vastly different from evening to evening. The electronics also use information directly from the musician to adapt certain aspects of the sound.

Mathieu Lacroix - North Star (2018) for solo flute with electronic

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Toccatina (2019) for bass flute, bass clarinet, piano, and electronic Where are you :
who
behind the lamp, surrounded by shadows, I set you : two dimensional
black falling down
under the nails, as a dust :
an image without thickness
(...)
world
from which nothing retains you
behind the lamp. in the night. surrounded by shadows. behind the door. from “where are you”, “Quelque chose noir”, Jacques Roubaud
“Toccatina” refers to an old musical form made of demanding technical performance. In this piece, I selected a very reduced aspect of this technique to its motor-like aspect. The metallic attack from the piano is surrounded by two other machines : the bass flute and bass clarinet, which try to generate an alienated resonance of the main instrument. This piece comes from nightlife, dance, alcohol, alcohol, and much alcohol, kisses and much more... and from all things that one could imagine happening out of this mix.

Nicolas Roulive - Toccatina (2019) for bass flute, bass clarinet, piano, and electronics

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Blue Pole (2018) for string quartet
The term "Blue Pole"1 is derived from "The questions of Tang" which is in the fifth chapter of "The Book of Lieh-tzu" written by Lieh-tzu. Lieh-tzu(around BC400) is a famous Tao philosopher during the Warring States period in ancient China. According to this ancient mythology in “The Book of Lieh-tzu”, “Blue Pole”, an unknown thousand and millions of miles away from the East of the gulf of Chih-li, is a deep ravine without bottom under the sea. It is also a pole which receive the waters from many regions and the stream of Milky Way but its water neither shrinks nor grows. Within it there are five big baseless flowing mountains which are the places for immortals to live. Preventing the mountains from shaking and drifting to the far West, God made fifteen giant turtles carry the five mountains. Unfortunately, a giant from the kingdom of the Dragon Ear hooked six of the turtles in a bunch, then two mountains and those immortals sank in the great sea.
I believe that everyone has its own “Blue Pole”. The water from the stream of Milky Way and thousands of rivers like the flow of time, the flowing mountains inside “Blue Pole” and the immortals who live there like the carrier of your memories and many of “you” in the past, and the giant is the present “you”. You usually cannot find your blue pole as it is very far away towards present time. If you want to go to “Blue Pole”, it is extremely difficult, and you need to spend a lot of time and effort as it is deep inside your hadal zone of your soul. If you reach there, you may see your “childhood”, “true you” and “abandoned you”, etc. At that moment, you will be the “giant” and you can change everything there. However, you need to bear the consequence when you change something inside. In this composition, I would like to explore “Blue Pole” in the hadal zone of soul and to find “me” in the past. For the music, in order to enter the deep soul, I use the musical elements of shô (a free reed musical instrument), hichiriki (a double reed Japanese flute) and ryûteki (a transverse bamboo flute) from Japanese gagaku, a musical style was imported from ancient China in Tang Dynasty, in this piece to create a transparent sonority. In the final section, composer changes the sonority of cello to produce the bells sound in temple and bring everyone into another space.

LUK Wai Chun - Blue Pole (2018) for string quartet

Thailand’s leading new music ensemble, Tacet(i) is focusing on the creation of new compositions from all composers, artists, performers with elements of music technology, improvisatory and interdisciplinary. Tacet(i) premiered and collaborated with new artists and composers which performed than 50 new works in 2019. The ensemble has been performing in festivals such as Thailand New Music and Arts Festival (TNMAS), China-ASEAN New Music Festival (China), Kanazawa Cutural Exchange Project (Japan), Cornell Council of Arts (CCA, New York), Crossover Contemporary Music (Netherlands), Diffused Portrait (United Kingdom), Thailand-European Composers (Netherlands) and many more. Tacet(i) is awarded and funded by prestigious organizations and supporters such as Siam Cement Group Foundation (SCG Foundation), Thailand, Prohelvetia, Swiss Art Council (Switzerland), Princess Galyani Vadhana Institute of Music (PGVIM, Bangkok), Cornell Council of the Arts (USA), Vasinee Food Corp (USA). Recently, the ensemble was broadcasted by CNN Worlds as a part of our director, Piyawat Louilarpprasert’s exclusive interview, “Young and Gifted the series: Meet the rebel Thai composer taking music to unheard heights. 

Tacet(i) was founded in 2013 by a group of Thai musicians with strong intention to lead the new music scene in Thailand. From 2014 – 2016, Tacet(i) had produced variety of works such as: concert music, music and arts, electronic music, and sound installation which includes “Tacet(i) Debut Concert” (College of Music Mahidol University, 2014), “CMC Experimental Sound Project No.1: Hor” (Chiangmai University, 2015), “Shuttling the Space sponsor by Japan Foundation (See-Scape Chaingmai Gallery, 2015), “Thai Composer and Music” (broadcasted nationwide, 2015), and the Tacet(i)Call for Scores 2016 (Collaboration with composers from prestigious music institutions in Thailand: Chulalongkorn University, Kasetsart University, Rangsit University, Chiang Mai University, Mahidol University, and Princess Galyani Vadhana Institute of Music). 

In 2017, we have found “Thailand Music and Art Organisation (TMAO)” to articulate the conception of new collaborative Music and Art. Tacet(i) and TMAO have curated several creative projects which included professional concerts and educational workshops for young musicians in Thailand and Europe, such as: Royal College of Music (London), Royal Academy of Music (London), Studio Loos (The Hague), Amsterdam Conservatorium (Amsterdam) Zurich Conservatorium (Zurich), and St. Cyprian Church (London). TMAO also directed “Music Days 2017: Saxophone and Composition Workshop” which specially meant to support the young composers, saxophonists, in learning and experiencing contemporary music. The event was held at Mahidol University, Bansomdejchaopraya Rajabhat University, and Assumption College. Recently, we initiated the first annual Thailand New Music and Art Symposium(TNMAS) which focuses on the diversity of ethnicity, society and culture. TNMAS 2019 was held at Bangkok Art and Culture Center (BACC) with the theme, “Beyond Boundaries”. We received the true achievement with promising evidences with more than 200 submissions of artists from around the world and 600 attended audiences at BACC. 

Currently, Tacet(i) consists of 12 Thai musicians, primary members are including: 
Pisol Manatchinapisit (conductor, saxophone), 
Phataporn Preechanon (Flute), 
Christhatai Paksamai (clarinet), 
Siravith Kongbandalsuk (trombone), 
Pipe Kantapong (percussion), 
Kerk Jaree (piano), 
Korn Roongruangchai (violin), 
Krit Supabpanich (viola), 
Kantika Comenaphatt (cello), 
Noppakorn Auesirinucroch (guitar), 
Tapanat Kiatpaibulkit (violin/viola) and 
Piyawat Louilarpprasert (director, electronics). 

For more information regarding our artists details and Tacet(i) performances and events: www.tacetiensemble.com and www.tmaomusic.com.