From the Regular Music album on Rough Trade. Written in 1982, recorded 1985.

© Jonathan Parry

Regular Music

Neapolitan sixth part 1

dall'album easy listening https://michelelupo.bandcamp.com/album/easy-listening

B R O T E S para ensamble de vientos articulados por fragmentos de poesía e imágenes de Alexandra Délano Alonso

B R O T E S para ensamble de vientos (2024), se inspira y articula, en diálogo con el poemario Brotes (2021)  de Alexandra Délano Alonso (México, 1979), un libro de poesía y fotografía que surge a partir del encierro por la primera ola de la pandemia provocada por el COVID-19. Música, poesía e imagen emergen desde una fragilidad desvelada por los ecos de una intimidad, inseparable de la experiencia colectiva durante la pandemia. Entrelazando dos lenguas migrantes de nuestra América (inglés y español), Brotes (el poemario), expresan lo que no puede contener un solo idioma cuando el clamor se desbordar tras los muros y las fronteras cerradas. “Con un ritmo sutil y punzante, esta mezcla de voces, cifras e imágenes marca los golpes de un tiempo incierto, entre una cotidianeidad que nos confronta y un duelo desconocido, sin tregua.” (Délano, 2021) La música de Susan Campos Fonseca, esculpe masas sónicas cíclicas, tejidas por versos e imágenes performativas del poemario, que Délano Alonso escribió durante esta primera peste del siglo XXI.

Estrenada el 9 de marzo de 2024 por la Banda Sinfónica Metropolitana de Quito bajo la dirección de Jéssica Cárdenas Ochoa.

Grabación en vivo cortesía de Simón Simón Gangotena.

Arte de portada: Newsha Tavakolian
[Fuente: https://www.nationalgeographic.com/history/article/coronavirus-has-forced-iran-to-take-a-hard-pause]

B R O T E S

This piece is based upon Alban Berg's tone row from his Violin Concerto of 1935. The row is superbly constructed - an incredibly concise summary of the main tonal relationships available within Equal Temperament, and as soon as I saw this, having previously worked on the tone row from Stockhausen's Mantra, I felt I had to apply my own technique of pitch translation to it, to see where it led. I had some reservations about doing this...Alban Berg's piece is a heartfelt expression of his sorrow at the death of a young friend, and it was his last completed piece. I had no desire to re-write his music, or to alter people's perception of the original, and have a great sympathy for his experience having gone through something similar in my own life.
Instead I thought of this as a chance to offer the violinist an after-life, a means of experiencing alternate realities which traverse a much wider range of moods than the original.
So the piece begins in an appropriately serious mood using the original row and a closely related one, but then after only a minute or so the French Horn, piano and percussion open the door to the possibility of new worlds and the music embarks on a whirlwind journey. After nearly 90 separate ideas within 30 minutes we return, and transformed by the experience the piece ends with the violin ascending to the summit in a lightened mood.
This ambitious project is something new and a step up for me - the obvious play on words in the title felt appropriate: Climbing a mountain, and the notion of ascending Parnassus are all linked in there somewhere. But most of all I was very pleased to discover the potential for so many memorable melodic patterns hidden within the formula of the Berg row.
(© Jonathan Parry - Composed May 2023 to April 2024)

Thanks to Mihnea Brumariu for the German translation of the title

[photo by Rok Romih / pexels]

Demo produced with Sibelius and Logic Pro using Note Performer, Joshua Bell Violin, Spitfire Studio Strings, BBC SO Discover, Yamaha P125 piano and Fender Telecaster

A Fresh Attempt on the Mountain (Ein neuer Prüfung am Berg)

Aurorae

I wrote it for the 15th anniversary of Neo Quartet but it was rejected. Also it's the first ever piece of music that i have composed fully on computer with any hearing reference to my piano.

In Motion

Flute Quartet No.1

Repulsión humana

Performed, Recorded, Mixed and Mastering by Elena Hidalgo

Un'altra improvvisazione

Susan Campos-Fonseca, piano & composer [Live improvisation at Carolyn Jane McGhee's piano-garden]

Archive/File recording Casse-Tete: A Festival of Experimental Music (Prince George is a city in British Columbia, Canada), 2015.

NADA [for piano]

Inverted Counter Point for Two Violins

Inverted Counter Point for String Trio

Inverted Counter Point for String Quartet

COMPOSER LAB & PERSONAL COLLECTION.

Portrait by Carlos Quesada (2019)
Cover Art by Aleksandra Waliszewska

Elena Hidalgo creates  new timbres, effects and soundscapes for visual media and composes electronic music by exploring field recordings, sound synthesis, sampling and algorithmic music based on semiotics and psychology of sound. 

Her music has been performed for different events in several countries like United Kingdom, Germany and Spain. 

Currently, she performs live electronic music and  composes film music specialized in thriller.

New tracks tagged #Postminimal