Name: Viel-Spaß by Lau Esga
Duration: 7 min 21 s
Description: selbs Komposition für Kontrabass, Fagott und Elektronische Frequenz

Text von Regina Schaunig
Effekten-Laura Espinoza
Komponistin-Laura Espinoza
Voz- Laura Esga
Ukulele_Laura Esga

In Dir Mus Brennen

late night w/ the bonnet baby

Very (very) freely inspired by the short novel by Ian R. Macleod.

Breathmoss

Oceans is my first LP, and strays ever so slightly away from the club-oriented tracks I’ve released so far. This time, I wanted to lean in more on some of my non-dance music influences, such as shoegaze, post rock and ambient, and channel them into deeply emotional and atmospheric breakbeat tracks.

Although it has no lyrics, Oceans has a story to tell, a deeply personal one. It is the backdrop to a journey of self discovery, a tale of navigating across the vastness of a troubled tapestry of emotions, a coming of age.

Oceans is about finding beauty among the darkness within, embracing the melancholy, and staring into the light after rising from the ashes.

Buy: https://linktr.ee/qant

Oceans

PREMIERE: Qant - Waterfalls

selbs Komposition für Kontrabass, Fagott und Elektronische Frequenz

Viel-Spaß

El sapo enamorado y otros cantos Kumíaí / Sergio Dominguez Orozco

Canto Kumiai Seis

«Inoltre for piano and 4-channel electronics was written partly in 2010 and then completed in 2017. Conceived as a study of the condensation of sonic objects derived from different automatic orchestrations, the starting material is a fragment of a sample of a tam tam rubbed with a super-ball; this is the same sonic object that formed the basis of two of my previous compositions: the radio drama Un posible día (2011) for soprano, narrator, 10 instruments and electronics, and Sidereus Nuncius (2009), for three percussionists, dancers and interactive electro-acoustic system. The definition of this sonic object (that first just 0.144 seconds) was a long but fruitful operation: from this starting point I was able to derive a series of automatic orchestration solutions through Orchidée (computer-assisted orchestration programe developed at Ircam) which immediately revealed the possibilities, but also the limits, of this tool. Although these materials were in themselves fascinating, being derived from a genuine microcosm, they couldn't be used in their raw state in a work for piano and electronics or solo piano; and thanks to a multidimensional consideration of these possibilities I looked for compositional solutions that would allow them to be condensed, contracted or expanded so that they could enter or become integrated in both the piano as well as the electronics part, while keeping their affinity with the original sonic object».

Inoltre (2017, fragment), for piano and electronics

Javier Torres Maldonado: Hemisferios Artificiales (2002), for 2 instrumental groups (6 players: for flute, clarinet, 1 perc., piano, violin and violoncello.)
Strasbourg, Théâtre des Lisières, 2.2002 - Ens. du CNR de Strasbourg.
©Edizioni Suvini Zerboni - Milan.

Hemisferios Artificiales (2002), for 2 instrumental groups (6 players)

DESTELLOS, ABISMO (2007-2010), for voice and ensemble (5 players: flute, bass clarinet, percussion, piano and cello).
Lyric Text: Jose Manuel Recillas.
Françoise Kubler, soprano, Ensemble Accroche Note.

Torres Maldonado: Destellos, abismo (2015), for soprano and 5 players (fragment)

Disfruta del segundo episodio de Intermitencias con Javier Torres Maldonado

Viel-Spaß

Lau Esga

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