Lonesome Lake by Anna Höstman

Performed by Dylan Lardelli (guitar) and Miyama McQueen-Tokita (17-string koto) in Kōenji, Tokyo, on 22 March 2015.

ギタリストのディラン•ラルデリ氏と箏奏者マクイーン時田深山氏が２０１５年３月２２日高円寺に演奏しました。

Programme note: shakkei is a term from Japanese gardening. It means ‘borrowed scenery’, and it describes the way that master gardeners use naturally occurring features – rivers, mountains, etc – to enhance their garden. By designing their garden to work in harmony with the surrounding environment, both the garden and the environment are enhanced. In this piece I treated the two instruments – koto and guitar, both 20th century versions of instruments millennia old – in a relationship akin to the garden and the mountain: their musical lines are independent to a certain extent, but they also complement each other and bring out a certain beauty that would not exist in each of the parts played on their own. The shakkei metaphor will also work another way: that of the immovable mountains of very different and very temporally distant traditions being used as a conceptual background to enhance the music I write today.

プログラム•ノート：日本の作庭術の一つ、借景。わたしは本曲のタイトルにこの言葉を借りることにした。庭の外に広がる山々などの景色を、庭の内側へと巧みに取り込んで一体のものとする、文字通り景色を借りることで、より雄大な眺めを生みだす技である。その調和において庭それ自体と「借りられた景色」とはお互いを讃え合うのである。この作品でわたしは数千年もの歴史をその背後に控えた17弦箏とギターという現代の楽器を、庭と遠山との関係になぞらえて用いることにした。それぞれの奏でる線はある程度まで独立のものとしてあるけれども、また同時に互いが補い合い、そのことによって、それぞれが別個に奏でている限りにおいてはどうしても現れえない、ある種の美しさが姿を現すことになる。借景という寓意はまた別の読み方もできるだろう。全く異なった、また時間的に大いに隔てられた二つの楽器の伝統をとり入れることによって、作品を良きものにするという、わたしなりの「借景」の読み方である。

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Shakkei 借景

Ballad for cello and piano by Linda Catlin Smith. Performed Jan 12, 2017 at the Canadian Music Centre, Toronto. Paul Pulford - Cello, Cheryl Duvall - piano.

Ballad - Linda Catlin-Smith

Live CBC Homerun interview with Sabrina Marandola
March 10, 2017
Recorded at CBC / Radio-Canada, Montreal

CBC Homerun Interview, March 10, 2017

performed by Sophia Subbayya-Vastek

concert review by Steve Smith (The Log Journal)
http://thelogjournal.com/2017/04/07/in-review-r-andrew-lee-and-sophia-subbayya-vastek/

Scarp (2017) - solo piano (live recording 4/4/2017)

After months of making of the original installation, Millennium Fantasy, I want to release this song to tell the story of the coral reefs and their (co)dependents of the Millennium Atolls. It uses exclusively sonic materials recorded by Ana Sirovic, a former researcher of the Scripps Oceanography Institute, and her lab.

Stay tuned for Chapter II!

credits
released December 29, 2018 
Original sound from the ocean by Ana Sirovic 
Album Art shot by Nasim Biglari

Millennium Fantasy (Chapter I)

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble - live-recording

This work explores the micro-synchronicity within a pulsation to create timbral and musical situations that are:
organic and/or synthetic,
mechanical and/or lyrical,
symmetrical and/or asymmetrical,
integrated and/or separated,
on-the-beat and/or off-the-beat,



Performers: Turning Point Ensemble
Conductor: Owen Underhill
Electronics: Anthony Tan

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble

Solomiya Moroz's piece 'cloud patterns' (2013) written for our Keys, Wind and Strings concert/touring project.  Recorded Jan. 22, 2013 in Banff and toured throughout Canada.  Olivia Steimel - accordion, Solomiya Moroz - flute, Ilana Waniuk - violin, Cheryl Duvall - piano.

cloud patterns - Solomiya Moroz

trying to get arp 2500 radigue sound with the modular synths i have

cloud patterns - Solomiya Moroz

TENMC