October 2025

It is interesting to discover how in the ancient mythology woods were always the place where transformations occur, from human being into tree or plant, surrounded by a magical and mysterious environment.
In Ovid's Metamorphoses such transformations are both cruel and full of grace, connected to Death and at the same time to Gods' compassion that gives, instead of life's end, a new rebirth.

Silvae (2013)

This track made solely from recordings taken from my balcony. It consists of two sound materials: one is based on recordings made with an audiomoth, a small recording device that is usually used by scientists and ecologists in order to monitor biodiversity in rainforests and other areas of danger to certain species. In my recordings I experimented with it, to the point that I didn't have any control or idea about the result, so to speak. The second sound material is sourced from a different recording, made from the balcony in the beginning of the first quarantine. Many neighbours went to their balconies and windows and banged on pans and other everyday objects. I remember really enjoying listening to this music at the time and I thought no composer could have written it better. It was somehow a piece for the street, its dimensions and acoustics. From this recording  I sourced a couple of fragments and looped them together. I used silences between the different little pieces on this track.

Six balcony recordings A

A 66 minutes compilation of singing synthetic voice.

TRACKLIST :
A SIDE
A1 - Radio Free Robots (Ootil) >> Two lines rendered - awaking a 18 years old computer
A2 - Romain de Ferron >> Ravi
A3 - Aじき >> ジトウさん
A4 - melody newton >> Marions les roses [Malicorne cover]
A5 - IAAY >> Mark Zuckerberg Live at Olympia 2021
A6 - fioki >> One thing [Amerie cover]
A7 - Inky Rina >> Sciuri Sciuri [Gabriella Ferri cover]
A8 - melody newton >> Dans les bars [TG Gondard cover]
A9 - Rubie >> Swallow Song
A10 - Claude Evernia-Prunastri & Matthew >> (or the author)
 ---------------------------------------------------------------------------------------------- 
B SIDE
B1 - A C C O U >> Its bitter bed
B2 - Oï les Ox >> Kodaly
B3 - Z3 >> mailto : konrad zuse
B4 - Disposiciòn Asoleada >> Pùrpura y dinamita
B5 - frere tuck >> Paper bones
B6 - Rev.23 >> Canto VII (Altazor)
B7 - Vica Pacheco >> El coro de la arena tibia
B8 - DJ Roger >> Juke Elise no fx
B9 - WinterdrivE x jambe2feu >> Hide & Seek [Imogen Heap cover]

A3  Aじき - ジトウさん

An excavator picking up concrete debris and dropping in the back of a dump truck.

recorded on 2022/09/01, in a residential neighbourhood of Tiohtià:ke (Montreal), Quebec, Canada,
using a Zoom H4n

Feel free to use any bit of sound you like in there : )
Enjoy!

Excavator Loading Truck I

Le dernier rivage (25 Février 2022)

Prix Archives de la Parole 2022

Anne Julie Rollet & Anne Laure Pigache_ Espace Ici
35’, Les Harmoniques du Néon (France)

En mai 2022 nous avons été accueillies en résidence dans l’EHPAD Jos Jullien à Joyeuse (07). Nous y avons installé un studio d’écoute
et de création sonore. Nous nous sommes baladées dans les lieux avec nos enregistreurs. Nous avons discuté de la vie ici et maintenant à l’EHPAD, son rythme, ses relations sociales et affectives. Souvent le passé revenait ou plutôt un temps suspendu, dont les logiques parfois
nous échappent. De ces rencontres intenses, nous en gardons traces par une pièce sonore.  Cette résidence a été mise en place grâce à "Format-ou la création d'un territoire de danse" et les partenaires du programme régional "Culture et Santé" .

_ Anne-Julie Rollet (électroacoustique) et Anne-Laure Pigache (vocaliste) artistes associées au sein des Harmoniques du Néon.

Anne Julie Rollet & Anne Laure Pigache_Espace Ici

Concerto for Double Bass and Orchestra by 
Sarah Bassingthwaighte 

London Symphony Orchestra 
Jonathan Pasternack, conductor 
Steve Schermer, double bass soloist

Bassingthwaighte London Symphony Orchestra  Concerto For Double Bass And Orchestra II. Scherzo

Concerto for Double Bass and Orchestra III. Pesante feroce

London Symphony Orchestra 
Jonathan Pasternack, conductor
Steve Schermer, double bass soloist 

Recorded at St. Luke's London, September 2023

The Concerto for Double Bass and Orchestra was the result of several sources of inspiration. Conductor Jonathan Pasternack dreamed up the idea of the creation of a new piece for the Port Angeles Symphony Orchestra to celebrate their 90th Anniversary. The idea for the concerto for double bass and orchestra was a combination of the desire to add to the repertoire for the double bass and having an incredible double bass player, Stephen Schermer, to premiere it.
In deciding the general stylistic approach to the piece, I wanted to create something that would be virtuosic and fun for the bass soloist, engaging and interesting for the orchestra, and expressive and exciting for the audience. It was inspirational to be in contact with both the conductor and the bassist throughout the composing of this piece. Steve’s hope was for something lyrical, expressive, with a lot of tension and release, and that also used the full range of the double bass (a lot of bass concertos favor the highest range). This sounded perfect to me.
The Concerto is in three movements: Lachrymae, Scherzo, and Pesante feroce. The Lachrymae is the most serious and dramatic movement. (Many composers have written movements called lachrymae or lacrimosa, referring to tears.) This past year involved some very painful losses for both the bassist and for me, and this movement expresses some of that grief. The main motive that runs through the piece is 4 notes, with a major 2nd descending and a minor 3rd ascending, then a Major 3rd descending, with a dotted rhythm that reappears often. This is heard first in the double bass opening statement, low and solitary. It is then heard throughout the movement, including in a duet between piccolo and bass (playing flute-like harmonic effects), and then is extended to form the melody for the climax. At the loudest point, the bass blends into the fabric of the orchestra, with everyone at a fortissimo – the woodwinds and upper strings in a flurry of runs, the brass doing glissandi slides, and the low strings and low winds pounding out the 4- notemotive. Afterthis,theendingisquietandlonely.
The Scherzo lightens the mood, with bouncy, syncopated rhythms. The winds get to take a break, leaving just strings and percussion. All of the strings play entirely pizzicato – they don’t use their bows at all. The percussion gets to pull out some of their fun auxiliary instruments – temple bells (or crotales), vibraslap, castanets, and bongos among them. In the middle of the movement, the bass plays a 7-note pattern over the percussion’s 3-beat pattern, intentionally feeling loose and ungrounded. In the bass part, you’ll hear glissandos and slapping the strings.
The Pesante feroce is the high-energy climax of the piece. Short, driving, accented motives are tossed between the bass and the orchestra. The music is often somewhat dissonant, but always directional. A challenge in composing for bass is balance between the bass and the orchestra. Rather than thinning the orchestra, in this movement, I chose to have them alternate quickly, so the orchestra could play with fullness and energy without covering the bass. The middle of this movement slows to a dark, mysterious scene, with a persistent 4-note ostinato that is traded through the winds, brass, percussion, strings, and harp. Fairly quickly, the music returns to the virtuosic, driving bass themes, pushing toward the dramatic final repetition of the opening statement.

Bassingthwaighte London Symphony Orchestra Concerto For Double Bass III. Pesante feroce

Four contemporary piano pieces evoking the four elements
Performance by Joseph Ferretti [from live concert April 2008]

Water, Fire, Air and Earth (piano) by Jana Skarecky

Ravi Shardja bass & electronics
Live Data Marseille
2024 05 18

Live Data 18 05 2024

Era pra ser - 16 channel piece

Live at Recital Hour, The Rosza Centre, University of Calgary

Feb 8th

Flute: Jessica McMann
Piano: Julie Jacques
Composer:  Michael Daugherty

Trail Of Tears Concerto for Flute  1. where the wind blew free

Creación Colectiva

Dario Matta, Karim Nhon - Pedais
Benjamín Slavutzky - Trompete
Yanet Gerico, Valentina Spina - Violino

Festival Caja Negra - San Juan, Argentina

Experimentacíon con instrumentos

Jean-François Blanquet: voix, textes glanés et remaniés, vinyles, cassettes audio.
David Neaud: lutherie bricolée sur genou - aimants - récepteurs magnétiques frottements & tremblements - objets & manipulations diverses.

ROBOTS - Jean-François Blanquet & David Neaud - FịИ-ѕTi\/ΔL de la ѕ≡ηη≡ 13 décembre 2019 Bruxelles

Anne-laure Pigache et Anne-julie Rollet https://www.lesharmoniquesduneon.com/%C3%A9couter-l-ombre
L'Ecoute. Quelle résonance entre paroles d'entendeurs de voix (diagnostiqués comme schizophrènes) et
paroles de créateurs sonores ? Comment s'implique t on subjectivement et sensiblement dans l'écoute ? La
santé communautaire du Réseau des Entendeurs de Voix trace peut être la voie d’une refonte de la santé
mentale. Se dessine une trajectoire de cette voix à cette voie que nous désirons rendre audible.

Ecouter L'Ombre

Title: “Letter from Pasadena”
Performers: Paul Nash, baritone; Mark McGregor and Samantha Fu, flutes; Jennifer Butler, alto flute; Sammy Pseng, piccolo.
March 14,  2004, Vancouver, BC

Program note: In late 1999, the world watched and listened as the Jet Propulsion Lab in Pasadena, California struggled in vain to communicate with its Mars Polar Lander, sent off to search for water on the "Red Planet". I wrote the words to this elegy for the machine which, by the time it was finally given up for lost, had engaged our concern as if it were a missing child.

https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?lang=en-CA

Leila Lustig - Letter from Pasadena

Artiste du son (composition, art sonore, paysage sonore, artvideo)

Association of Canadian Women Composers

The ACWC is a professional organization for Canadian women composers, their supporters, and the performers of their music.

Experimentacíon con instrumentos

ThaisMontanari

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