End of year playlist from Making Waves:  this is a marathon collection of all Soundcloud tracks featured in playlists this year.  Your holiday listening sorted!

2017 Waves

Ensemble soundinitiative - Fabienne Séveillac, mezzo-soprano - Chef Léo Marque

Cancion Del Ciego

On the Bainbridge-Seattle ferry, wind excites vibrations in the railings (I think) at the front of the boat, which go up and down the harmonic series as the wind intensity changes. 

A better recording could be made with access to the highest level of the boat (usually not available to passengers) and a real windscreen.

Recorded 2014 June 15.

Download here: http://fchemotti.com/audio/20140615-aeolian_ferry.mp3

Aeolian Harmonics on the ferry

Tabula
2. Fassung für Helder Alt- und Tenorblockflöte
2014

Carolin Elena Hettler, Helder - Altblockflöte
Johannes Fischer, Helder -  Tenorblockflöte

Tabula

Cue produced for Tourism & Events Queensland - Sunshine Coast "Vacation Migration" TVC.

https://vimeo.com/109093047

Orchestral contractor: Dale Truscott
Mixed by John Rodd

"Migration" - SST Workshop

Clara Iannotta
Intent on Resurrection — Spring or Some Such Thing
pour dix-sept musiciens 
Ensemble intercontemporain
Matthias Pintscher, direction 

Créé et enregistré en direct le 17.10.2014 à la Cité de la musique (Paris)
Enregistrement sonore : Radio France 

En savoir +  : http://www.ensembleinter.com/accents-online/?p=7310

Clara Iannotta : Intent on Resurrection — Spring or Some Such Thing

A fiftieth birthday piece for Brian Ferneyhough, for two prepared vibraphones. The overall form of Jam Karet (1994) is a that of a set of interlocked refrains and ostinati of various types. The title is an Indonesian expression which in literal translation means “elastic time”, and is obviously suggestive in terms of musical process. Its point of departure is a one-measure quotation from Lemma-Icon-Epigram. (The whole idea came to me in a weird flash where I imagined subjecting a Ferneyhough quotation to a developmental process as if a secretly spectralist Donatoni had briefly adopted a minimalist aesthetic with a Takemitsu-esque touch, while still keeping the irrationally subvidided subdivisions. As it turned out, when Brian heard the piece, he didn't recognize the quote, and he liked the piece.) The work was begun in 1993, set aside, and then completed by the summer of 1994; it was first performed at the Darmstadt Ferienkurse für Neue Musik that year by Yuko Suzuki and Kuniko Kato. The American premiere was given by Terry Longshore and David Shively during the Emerging Voices Festival in February 1995 in San Diego, California. The Asian premiere was given by Kuniko Kato and the Paulownia Percussion Ensemble in Tokyo in April 1996.

Jam Karet (1994)

And My Angel Whisper Peace to Me

Performed by Ensemble Offspring

Lamorna Nightingale – alto flute
Jason Noble – bass clarinet
Elizabeth Welsh – violin
Geoffrey Gartner – cello 
Claire Edwardes – percussion
Zubin Kanga – piano

Recording courtesy of ABC Classic FM

read/write error (mixed ensemble)

Responsibility

A response to the lives lost in Paris, November 2015. The piece attempts to portray the confused but overwhelmingly energised inner workings of a young, fanaticised mind and give form to their misshapen and distorted reality.

Works by playwright Wole Soyinka influenced my choice of perspective when approaching this topic. 

… the shadowy one, the waiter-stalker, a youth
 Fed on dreams of sarabands of houris
 Doe-eyed virgins, wine and sweetmeats in the afterlife 
But to his paradise, a key - the plunging knife. 

an excerpt from Samarkand
by Wole Soyinka

The Fanatic or I Am Right You Are Dead

just a pair of twins noodling on some analog gear on a rainy day

SMcSF {twin analog jam}

Commissioned by Samantha Wolf for International Women's Day 2016 concert: This Will Be Our Reply. First performed on 7th March 2016 by Tamara Kohler, Gemma Tomlinson, Aaron Klein, & Adam McMillan.

There is usually more complexity on the inside than what is initially seen.

"On the Inside" explores the many aspects of identity throughout a woman’s life, from growth to complexity, (as opposed to innocence to uselessness). It rejects the idea that women are to be seen as objects only, that a woman’s value lies in her physical attributes and functionality to another. 

Musically, this piece started with a single small motif that is heard about a third of the way in, which I then grew and developed continuously. Despite rejecting external ideals, aspects that might be perceived as "beauty" have been retained because, like all characteristics, beauty is not something to be ashamed of or feared.

On The Inside

[text by Rhys Nixon, composed && performed by Dan Thorpe].

going wild here on the footpath

a dog looked at me, walked away

going to buy a dog off amazon after getting something to eat

send pictures of dogs to strangers

no one sends any back

windows fogged up 

cant see inside

 

what am i doing between tabs i’m not looking at

another day, another empty mail box

no we don’t want to subscribe to your newsletter

no we are happy with our bandwidth 

no we don’t care about your coupons

no this letter isn’t meant for us


been waiting outside way too long

yes, it’s exactly what it looks like, more than one train approaching

walk down the street in pajamas, will people even look 

they glance and mutter

they really do need to subscribe

looks like their bandwidth is low

probably uses coupons

 

walking on footpaths, broken rubbish bag

empty milk bottles rolling into gutters

think of picking them up

we don’t, look at the bus drive past

everyone waiting

 

i can use this, open a store, sell my ideas

watches don’t tell the time, coffee tastes like water

inbuilt spelling mistake maker

automatic Facebook liker

app that answers the door

service that compares all the dogs in your area

white noise dream catcher

 

if i tackled a police officer would people stop me

or will the police officer step aside

consider this while waiting for a coffee

consider this while you exit the train station

consider that the police officer 

didn’t look at you

 

i walked into traffic and all the cars stopped politely, 

the drivers weren't watching me

if you were waiting for me

i’m sorry about that

it must be the water

can i get a drink

 

i’ll look at a sad picture and not feel the need to cry

until someone says ‘wow that made me cry a lot’

we’ll walk to the bank

take all our money

throw it on the road

watch cars drive over it

pick it up and deposit it again

 

don’t worry about it, honestly, 

i’ll make sure to stand up straighter

and meet up with friends

we’ll be the friendliest people

on the end of our street

in our complex

in our combined bank account

linked to our insurance company

 

bury my face in funny videos

don’t want to know anymore

turn the volume down here so i wont be noticed

give up sleeping

stay up every day

everything feels blue

we won’t be photographed

Considerate

What can we do, there's nothing to do,
about sickness and hunger and dying.
What can we do, there's nothing to do,
nothing but cursing and crying.

Find something to burn.
Let it go up in smoke.
burn your troubles away.

Sometimes it's witches or what will you choose?
Sometimes it's lunatics, shut them away.
It's blacks and it's women and often it's Jews.
We's all be quite happy if they'd go away.

Find something to burn.
Let it go up in smoke.
burn your troubles away.

The lyrics of Caryl Churchill from her play 'Vinegar Tom'. Performed and composed by ALPHAMALE (https://soundcloud.com/dad-dreams) and Marlene Claudine Radice. This piece premiered in COUP Canberra's 2016 production of Vinegar Tom.
http://www.agac.com.au/2016/12/the-musicians-of-vinegar-tom/

Cut Common interview with Hannah and Marlene: http://www.cutcommonmag.com/how-can-we-use-music-to-achieve-social-change/

Something To Burn

I am an Australian-born composer of concert music and music for screen as well as an experienced arranger and orchestrator. I enjoy collaborating on a range of projects from small scale short films to advertising, feature scores and live performances.

My scores cover a range of genres from orchestral to electronic and popular styles. My turn-around is fast, I can capture a mood quickly and can provide tracks to suit all requirements.

I have written for numerous ensembles and performing arts organisations including the Melbourne and Adelaide Symphony Orchestras, members of the New York Philharmonic, Kammer Ensemble, the Song Company, Orkest de Ereprijs, Chronology Arts, the Royal College of Music Symphony Orchestra and the Composers’ Ensemble. My orchestration and arrangement credits include work for Japanese video game composer Hitoshi Sakimoto, Australian composer Matthew Hindson, oud virtuoso Joseph Tawadros and the Australian Brandenburg Orchestra.

My training includes an undergraduate degree in composition from the Sydney Conservatorium of music as well as a masters from the Royal College of Music, London.

For a full bio and examples of my work please visit: www.tristancoelho.com

Email: tristan@tristancoelho.com

Making Waves is a monthly series of curated playlists streaming one hour of quality, new composed music.  Founded in 2015, Making Waves shines a spotlight on the music of Australian composers. Fresh playlists are released on the first day of each month and older playlists are made available all year round via our archives; perfect for those with just a few minutes to explore one track or for hours perusing a myriad of diverse sound-worlds.


The project offers wider exposure to emerging composers, their music and the talented performers who champion it. We also provide an easy-to-access platform for listeners to sit back and enjoy a curated hour of exciting new music or explore our living composers more actively.  The playlist themes (and media through which they’re shared eg. Soundcloud, YouTube) evolve each month depending on the content received directly from our talented composers.

At its core Making Waves is a curated listening space. In 2016 we branched into producing our own content through a special project, Making Conversation, thanks to a successful crowdfunding campaign. Making Conversation: Australian Composers Project is a series of podcasts and vodcasts presenting the human side of living Australian composers, released on popular audiovisual and social platforms mid-2017.
Composers Lisa Cheney (Melbourne) and Peggy Polias (Sydney) are curating this project.

 Listeners, we encourage you to explore current and past playlists and discover more about our featured composers. 

Composers, we encourage you to send us links to your streamable audio via our website. Visit: www.makingwavesnewmusic.com for more information.

read/write error (mixed ensemble)

Tristan Coelho

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