A very nice, almost eerily drifting work. Congratulations!

Fallen Angels

Contribution Ufologique Bugarach Remix

मातङ्गी (Mātaṅgī)
Nirantar Yakthumba
[violin, cello, sine waves]
2022

Lange Nacht der Neuen Musik 2022
Robert Schumann Hochschule, Düsseldorf

Elaboration and demonstration of algebraic integers (Z[√2]) over a sequence of primes:

A: 2 + n√2, 3 + n√2: sweeping curves
B: 5 + n√2, 7 + n√2: interferences
C: 11 + n√2, 13 + n√2: points and steps
D: 17 + n√2, 19 + n√2, 23 + n√2, 29 + n √2, 31 + n√2: echoing cascades

Performed by Kali:
Violin - İdil Yunkuş
Cello - Beste Yıldız

मातङ्गी (Matangi)

SenSen - 90

In a cross-tuning of 84-tone equal temperament and 13-limit just intonation.

Amélie Berson, flute
Phoebe Bognár, bass flute
Mireia Pellisa Martín, alto saxophone
Thierry Madiot, bass trombone
Carlo Sampaolesi, accordion
Félix Lacquement, electric guitar
Paola Aviles, harp
María Alejandra Jiménez, violin
Adèle Viret, cello

Commissioned by GMEA – Centre National de Création Musicale d’Albi-Tarn. Recorded live at the Athanor in Albi, France on August 6, 2022  by Benjamin Maumus – GMEA's sound engineer.

Commande du GMEA – Centre National de Création Musicale d’Albi-Tarn. Enregistrement à l’Athanor à Albi le 6 août 2022 et mixage par Benjamin Maumus – ingénieur du son du GMEA.

Nocturne (2022) for harp, electric guitar and ensemble

Paral·lel & François Fontaine - Glisten

Mantra

Contradictory

2023-02-11

night jazz

Stocastic4

the Sea They Think They Hear
for soprano, flute, harp, piano, violin, viola and violoncello | 2021

Written for and performed by the Wet Ink Ensemble and Gelsey Bell
Recorded at Scholes Street Studio
Mix and Mastering by Murat Çolak

Text

The ocean, deep blue-green.
What we learn in the middle of the night is that the world makes us flinch. (Michel Serres, The Five Senses: Philosophy of Mingled Bodies)
Sounds an ocean, drinks it in.

Then everything became worse for the wear, damaged, used and used-up and ultimately destroyed.
More and more I made up for what was lost, I slowly improved myself, and I considered myself healed. (Ingeborg Bachmann, Malina)

I found myself trapped in a nightmare, standing alone at the sea. Everyday becoming more and more.
White and yellow and gray and horizonless. (Tove Jansson, The Summer Book)

the Sea They Think They Hear (2021)

Thomas Nicholson (b. 1995) is a Canadian composer whose work investigates extended just intonation. His creative practice centres around a deep exploration of untempered frequency relationships, taking cues from acoustics, theories of perception, and sociology.
During his adolescence, he studied composition and traditional Western music theory privately with Dr. Martín Kutnowski at St. Thomas University in his hometown of Fredericton, Canada. From 2013–2017, he studied composition with Christopher Butterfield at the University of Victoria (BMus). In 2017, he relocated to Berlin, Germany to study at the Universität der Künste (MMus, 2017–2021) with Marc Sabat, whom he assisted teaching in intonation theory seminars.

Nicholson and Sabat have collaborated on several academic and artistic research projects as well as publications revolving around a mutual interest for examining various possible approaches to “Harmonic Space” that may be interesting in music composition. In 2020, they published a revision and extension of Sabat and Wolfgang von Schweinitz’s original “Helmholz-Ellis JI Pitch Notation,” which has already become a standard throughout Europe for notating music in just intonation.

Since 2018, Nicholson has been a member of the Berlin-based Harmonic Space Orchestra, a collective of 15 musicians who meet regularly to research their shared interest in searching for new ways to sound precisely tuned intervals (mainly produced by acoustic instruments) in an inclusive and pluralistic creative environment. He is also a member of Plainsound Music Edition, which is a curated, interdisciplinary virtual edition featuring open source, non-commercial sharing of experimental, perception-driven artistic work and research. There is a major, but not exclusive focus on the practice of microtonally extended just intonation.

In his compositions, Nicholson’s sources of inspiration stem from a broad range of fields and contexts, ranging from mathematics and physics to graphic design, music history, psychoacoustics, philosophy, and interdisciplinary artistic collaborations. Fascinated by the inherently microtonal nature of extended just intonation, his compositions since 2014 have engaged with the often-mysterious interactions between threads of counterpoint and the psychoacoustic phenomenon of harmonic fusion. He is repeatedly drawn to the intricate question of the “enharmonic,” in both historical and modern senses of the word, within the framework of extended just intonation. He often works with various miniscule, yet remarkably expressive connections between tones (points in Harmonic Space), which seem just beyond the reach of perception until contextualised by special harmonic conditions. He especially enjoys composing for smaller settings consisting of two to four musicians and is devoted to researching as well as developing tools and methods for navigating the practical challenges of realising microtonal music in various forms.

Nocturne (2022) for harp, electric guitar and ensemble

Thomas Nicholson

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