*This piece is overall quiet. Please raise your playback volume and, if possible, listen with good headphones or external speakers. Take care when increasing headphone volume.

◆Details (including the program note)
https://takahirokuroda-composer.com/wall-hole-opening/

◆Premiere
低音楽器アンサンブルによる演奏会「Plural Within / Relation」
July 25, 2025, Tokyo, KM Art Hall
Shino Saito, Bass Flute; Kyusang Jeong, Bass Clarinet; Ryuta Iwase, Bass Clarinet; Mano Shimojima, Violoncello; Masashi Yamamoto, Double Bass

◆Year of composition
2025

◆Instrumentation
bass flute, 2 bass clarinets, violoncello and double bass

◆Score (sample)
https://www.dropbox.com/scl/fi/x6k37smkf9lij7sdx1c6v/sample-_score_ver1.2_wall_hole_opening_-landscape-orientation.pdf?rlkey=eejdj1eqo2emc0l171l7rpz3u&st=d1ofgw96&dl=0

wall / hole / opening (2025) for bass flute, 2 bass clarinets, cello and contrabass (live recording)

FIREFLY/STARLING Project Proposal: One of the species of music I do is algorithmic composition.

The intention is to side-step traditional metric notation altogether, and generate electronic sounds directly from their mathematical description.

TWO projects I’m working on involve the movement of sounds in objective or real space. Inspired by the Varèse, Xenakis, and Le Corbusier 1958 World's Fair Philips Pavilion—we did a reconstruction of this with the ASKO SCHOENBERG Ensemble years ago—I am hoping to implement a grid of a 40-voice sound source distributed over 400 light/speakers.

The simplest and most flexible way to do this would be an APP that audience members could download in situ that flashes colored lights on and off, while at the same time playing pitched percussive sound. This means that there are three versions of a piece: light only, lights + sound, and sound only. All versions could be performed in- or out-of-doors.

The first two pieces I’d like to realize both use simple swarm algorithms abstracted from Nature: (1) FIREFLY (2) STARLING.

FIREFLY: The primary parameter is how the 40 relatively autonomous voices—simple percussive, say, woodblock sounds—move in and out of synchronicity using complex, non-periodic rhythms. Secondary parameters are random spatial and random pitch distribution (a simple 4 octave C2 to C6 1/4-tone field). Other variables are total duration and max/min temporal density limits. 

STARLING: Here, there are two equal primary parameters, with an one octave ‘swarm’ of 1/4-tone pitches at high to low density over a six octave field—always maintaining coherence with the same simple percussive woodblock sound with clear spatial transients—that ‘flies’ around in pitch space. 

WORK PLAN: Start simple with laptop models: scale down to 4 voices in monophonic rendering; then, stepwise, scale up to 40 voices. Once optimal temporal and pitch densities are worked out, scale to spatial distribution adding a dynamic / amplitude 7-step scale ppp=far away // fff=very near, as well as stereo headphones output; from there, scale up to the next level with simple single-purpose smartphone wi-fi/cellular APP.

That’s it. Each piece would last about 10 minutes. They wouldn’t be written down, but generated anew each time.

If you’d like take part the FIREFLY/STARLING Project (pro bono) in any way—whether as coder, mathematician, AI specialist, or APP designer— or offer support in any way, you can email me at cliff@picture-poems.com

AVIAN soloist: An Oregon Rock Wren, recorded in MAY

IMAGE: Whitebark pine atop EASGLE CAP (Lost) GLACIER PEAK in background

FIREFLY / STARLING Project Proposal:—Algorithmic  ‘SWARM’ spatial composition played LIVE!

Yannick Vogt & Paul Zoder Pt.1 - 06.09.25 @WemGehörtDieWelt

Eine kleine, unsichtbare Erschütterung bewegt sich bis zu einer Riesenwelle - TSUNAMI (Skizze) ist eine Kompositions-Idee für Klavier, Kontrabass, Schlagwerk, Bassklarinette, Elektronik und Stimmen.

Tsunami Skizze

Lacewing
miniature for violin trio
2024

Recorded on November 21, 2024
Culture Unlimited Festival, Utrecht, The Netherlands
New European Ensemble

Lacewing (2024) Violin Trio - New European Ensemble

Eine Ode an die Musik, an das Leben und eine Liebe, die trotz aller Prüfungen unbestechlich bleibt. 

Am Kunstwerk beteiligt sind:

Tubi - Lead Vocals, Backing Vocals

Band:
Klaus Bittner - All Guitars
Marc Ebermann - Bass
Lutz Krajenski - Piano, Hammond, Keyboards
Matthias Meusel - Drums, Percussion

Guest Artists:
Linda Hermes - Backing Vocals
Gary Winters - Trumpet
Stephan Abel - Tenor Sax
Andreas Barkhoff - Trombone

Buy - ITunes

dito

Aquellos rincones en donde habita(ba) la magia (2023) para flauta.

Esta pieza nace de una invitación del compositor Marcelo Delgado, a quien dediqué la obra, quien me propuso algunas premisas que él estaba desarrollando llamadas "notas al pie".

De esas notas al pie, elegí las siguientes:

Notas al pie (1):
2. Fue Webern, en su Op. 27, quien trabajó el palíndromo como recurso constructivo, por primera en el siglo XX. Sus estudios sobre la polifonía flamenca del siglo XV seguramente influyeron en su pensamiento contrapuntístico. Entre nosotros, la referencia ineludible es Juan Filloy.
6. Cfr. Sciarrio, Salvatore "Come vengono prodotti gli encantesimi?"

Los palíndromos que elegí del escritor cordobés Juan Filloy (1894 - 2000), son los siguientes:
1) "Se es o no se es"
2) "Somos o no somos"
3) "La ruta natural"
4) "La ruta nos aportó otro paso natural"
5) "Solo dí sol a los ídolos"
6) "Nos ideó Edison"

Versión en vivo del 22 de agosto de 2025 en la Sala Luis de Tejeda, Teatro Libertador San Martín, Córdoba, Argentina.

(English)----------------------------------------------------------------------------------

Aquellos rincones en donde habita(ba) la magia (2023) for flute.

This piece was born from an invitation from the composer Marcelo Delgado, to whom I dedicated the work, who proposed to me some premises he was developing, called "footnotes."

From those footnotes, I chose the following:

Footnotes (1):
2. It was Webern, in his Op. 27, who first used the palindrome as a constructive device in the 20th century. His studies on 15th-century Flemish polyphony surely influenced his contrapuntal thinking. Among us, the unavoidable reference is Juan Filloy.
6. Cf. Sciarrio, Salvatore "Come vengono prodotti gli encantesimi?"

The palindromes I chose from the Cordoban writer Juan Filloy (1894–2000) are the following:
1) "Se es o no se es"
2) "Somos o no somos"
3) "La ruta natural"
4) "La ruta nos aportó otro paso natural"
5) "Solo dí sol a los ídolos"
6) "Nos ideó Edison"

Sala Luis de Tejeda, Teatro Libertador San Martín, Córdoba, Argentina.
August 22, 2025. Live version 
credits
released October 6, 2025
Compositor: Ceferino García
Flauta: Laura Pinto

Aquellos rincones en donde habita(ba) la magia

Gregory Kharaneka, saxophone
https://composersedition.com/vykintasbaltakas/
https://nobusinessrecords-cc.bandcamp.com/album/gregory-kharaneka-kirtis

The central idea of re(a)line is the unfolding of a continuous musical line in its many shapes and expressions. I am deeply interested in modal forms and flexible musical structures, and expect a musician for this work who has experience in free improvisation. The score was deliberately written in a free, graphic style—providing only musical textures—to create a creative space for a sensitive musician.

The work consists of 16 graphically notated pages, each representing a specific musical texture along with instructions for electronic transformation. The piece has an open form: only the first page is fixed, while the order of the remaining pages can change with each performance.

The process begins with the first section, which is recorded live. In the following section, this recording is played back and modified by the soloist’s performance, then recorded again. Each new section takes the previously transformed version as its basis, creating a chain of evolving sound layers. Through this process, the electronic component develops continuously, producing a vivid, morphing musical line.

Although the piece was originally written for saxophone, it may also be performed on any melodic solo instrument.

re(a)line, for any melodic instrument

NICHTS SCHÖNERES (2024) VON LORENZ HAAS
ein Schumannliederabend in vierzehn Szenen
für sechs Instrumente und Gesang
eingerichtet von Lorenz Haas

Elia Pianaro / Flöten
Martin Sonderegger / Klarinetten
Francesco Palmieri / E. Gitarre
Daniela Müller / Violine
Nicola Romanò / Violoncello
Lorenz Haas / Schlagzeug, Gesang

Viviane Hasler / Gesang
Jürg Henneberger / Leitung, Klavier


Nichts Schöneres Zürich (Ausschnitte)

mandala zero

Composer. Writer. Photographer. Former conductor & founder of the ASKO ensemble.

On a bike/ski/hike trek of the Pacific Northwest studying native plants & climate breakdown 🌲 from sagebrush sea to whitebark pine. Composing off-grid the whole way.

#Sun2Sound 🌕 on Bluesky

THINKING LIKE A STONEPINE, a soundpoem manifesto https://vimeo.com/844665859

“LOVE & WATER, three thought poems w/ coda, PHAROS for small orchestra, “Nightwind”” https://vimeo.com/847079690 

CURRENTLY on mt bike/ski/climbing trek through Pacific Northwest, working on a photobook about WHITEBARK PINE COLLAPSE and CLIMATE CRISIS. BASES in the WALLOWAS | AMSTERDAM | ALPS. 

WEEKLY photo/poetry updates at www.picture-poems.com & THE CIRCLE IN THE SQUARE new music, poetry & dance performance project at www.cs-music.com

ALWAYS ON THE LOOKOUT for progressive, tech-savy, instrumental virtuosi interested in dialogue & collaborative undertakings.

CONTACT cliff@picture-opoems.com
Or on SKYPE or FACETIME @cliffcrego

MUSIC? The one thing humans do,
that makes the rest of nature jealous.

uploaded some cool stuff on my youtube channel!!!!!
a day with a composition is a good day!!!
the community is awesome , thanks a lot, friends!!!
!!!NEW ALBUM OUT ON BANDCAMP!!!
https://noxpox.bandcamp.com/album/cybernetic-mind-boost

cool review: https://www.modularrodeo.com/track-of-the-week/930-subba-bubba-by-noxpox
just hit me up for some collabs! I really like to collab!
if you want STEMS of one of my tracks for a remix just ask me!


noxpox is an industrial, experimental, electronic, ambient,IDM , or whatever music project from Orsoy (am Niederrhein), Germany and  it was created by Andre Hindenburg.

Vykintas Baltakas, Conductor / Composer

Born in Vilnius in 1972, Vykintas Baltakas already caught attention as a musician and leader of two vocal ensembles, as well as a competition award winner, before studying composition with Wolfgang Rihm and conducting with Andreas Weiss in Karlsruhe from 1993 to 1997. He subsequently studied in Paris at the Conservatoire National Supérieur and took a one year course at IRCAM.
Conductors and composers make up two sides of the coin for the busiest of musicians. “One composes through playing, one plays through composing,“ he says – an attitude shared by Peter Eötvös who was his teacher between 1994 and 1997.
In the meantime he is a regular guest at festivals and with ensembles throughout Europe. Institutions that have commissioned works by Baltakas include the WDR Symphony Orchestra, the Munich Biennale, the Wiener Festwochen/Klangforum Wien, the Ensemble Modern and the Bavarian Radio Symphony Orchestra/musica viva.
Vykintas Baltakas has in recent years conducted renowned orchestras such as the RSO and DSO Berlin, the Bavarian Radio Symphony Orchestra and the WDR Symphony Orchestra as well as ensembles including Ensemble Resonanz, the Ensemble Modern and Scharoun Ensemble. He has also collaborated with composers such as Karlheinz Stockhausen, Georg Friedrich Haas and Dieter Schnebel. In 2009 he founded the Lithuanian Ensemble Network (LEN) of which he is the driving force.
Vykintas Baltakas’ works have been awarded with prizes such as the International Claudio Abbado Composition Prize (2003) and the Siemens Advancement Award (2007). CD recordings of his compositions were recently made by the Ensemble musikFabrik Cologne and the Ensemble Modern.  
Currently V.Baltakas is professor for composition at the conservatories in Maastricht and Brussels. From September 2016 he will lead the master program for performance of contemporary music at the Lithuanian Academy of Music and Theatre.

Ceferino Antonio García (1979), La Pampa, Argentina. Compositor, docente y productor dedicado a la música contemporánea desde hace 15 años. Su música y sus intereses creativos se enfocan en la exploración de diferentes temáticas como la relación metafórica y analógica entre los fenómenos de la naturaleza y la música, la aleatoriedad y la improvisación en música como recurso expresivo y técnico para la creación. Ha trabajado en proyectos de música para orquesta sinfónica, para conjuntos de cámara: pequeños y grandes ensambles, música para obras de teatro independiente, obras para instrumentos solistas y obras de música mixta.

Algunos intérpretes y ensambles que hicieron su música: Dúo Be.Mad: Beatrix Wagner y Madeleine Schapiro (Alemania/E.E.U.U.), Émilie Girard-Charest (Canadá), Dúo Reflexión K: Beatrix Wagner y Gerald Eckert (Alemania), Lori Freedman y Scott Thomson (Canadá), Valentín Garvié (Mar del Plata) Orquesta Sinfónica de la Universidad Nacional de Córdoba, Gustavo Aiziczon, Gisele Tobares, Eduardo Spinelli, ensemble SUONO MOBILE argentina, Mauricio Hernández, Sebastián Vallejo, Aníbal Borzone, Mariano Ceballos, Alejandro Galiano, Pablo Platte, Gabriela Gregorat, Cuarteto de Cuerdas Träumerei (Córdoba), entre otros.

Hey my name is Scharmien and I compose, sing, scream, play, move, direct, cut and create something I call 'se future'.

Das 1985 als Sextett gegründete ensemble für neue musik zürich widmet sich ausschliesslich  dem zeitgenössischen Musikschaffen.

Flöte/Künstlerischer Leiter: Hans-Peter Frehner
Klarinette: Manfred Spitaler
Violine: Daniela Müller
Cello: Nicola Romanò
Klavier: Viktor Müller
Schlagzeug: Lorenz Haas

New tracks tagged #Neue Musik