Anne La Berge, flute
Germaine Sijstermans, clarinet
Seamus Cater, harmonica
Koen Nutters, double bass
Danya Pilchen, piano

April 7, 2022 at Splendor, Amsterdam

two songs. anne, germaine, seamus, koen, danya

John Jenkins (2001/2011)
music for 2-manual harpsichord and six instruments in 5-limit Just Intonation
based on Johann Sebastian Bach’s Ricercar a 6 from Musikalisches Opfer, BWV 1079

commissioned with the assistance of the Canada Council
by Continuum (Toronto) & Evenings of New Music (Bratislava)

The musical material has been taken from Johann Sebastian Bach's Ricercar a 6 in Musikalisches Opfer, BWV 1079 (1747), mm. 29-103 (all but the exposition). Bach’s original pitches and durations remain for the most part unaltered, but their vertical relations have been disturbed by presenting the individual notes largely in sequential (rather than simultaneous) order. Like an unfolded architectural diagram, the resulting melodic material retraces Bach's harmonic and motivic constructions as a kind of projection onto two dimensions. This music (contained in its entirety in the keyboard part) undergoes a second projection back into the six non-keyboard instrumental parts, which may be realised by any six appropriately registered instruments of flexible tuning. Each of these parts largely retains its original pitches from the Bach, separated by silences, producing a new music in hocketed correlation with the other five parts. This transformation of Bach’s music has been notated in 5-limit Just Intonation based on a lattice of interlocking pure fifths and thirds, allowing all intervals between pitches to be exactly tuned by ear. This intonation is written up using the Extended Helmholtz-Ellis JI Pitch Notation, developed by Marc Sabat and Wolfgang von Schweinitz. A diagram of the pitches used, and a legend of the notation, are provided below. In the 2011 revised version, an additional “sotto voce” shadow music of sustained tones has been composed to facilitate the tuning of pitches by mostly simple JI consonances. The instruments should shift as smoothly as possible between the playing of foreground and background pitches (indicated by small noteheads), helping each other play as a purely tuned consort. John Jenkins (1592-1678) was an English composer who wrote primarily instrumental consort music, often originally intended for home performances by amateur musicians. Unlike many other composers, who were in the employ of royal courts and/or the Church, Jenkins spent much of his life working privately for various families in remote country houses of eastern England. He is also known as the inventor of the “lyra consort”, an exotic mixed ensemble consisting of violin, lyra viol, bass viol, theorbo, and harpsichord. The melody is to be expressively phrased, with an abundance of local detail. The general sensibility is ornate and Baroque, with great attention to the collectively created phrases. Vibrato should be used very sparingly. Tones connected by slurs are to be played as a single connected gesture. A comma just before a note indicates the beginning of a new phrase; immediately after a note, or before a rest, it indicates the end of a phrase. Dynamics and articulations have been written to suggest and facilitate the natural flow of phrases, and may be interpreted freely by agreement of the performers. John Jenkins was written at the request of Jennifer Waring (for Continuum, Toronto) and Daniel Matej (for Musica Aeterna, performing at the 2000 Bratislava Evenings of New Music). It was commissioned with the assistance of the Canada Council for the Arts.

Berlin, 24 January 2011

John Jenkins (2001/11)

From the original CD (GABRIEL PAIUK: res extensa
sedcd043 | Released in 2006 | http://www.sedimental.com/catalog/index.php?ID=41) 
Res Extensa is a tape piece based on the superposition and juxtaposition of different layers of sound registers. These registers are layers of sound materials related to our everyday sound environment and coming from different origins: marginal sounds from electric devices, analogue sources, field recordings, amplification of micro-sounds, recordings of machine noises, digital errors and music. These sounds do not carry a traditionally codified expressive meaning but rather an emotional register linked to our everyday experience, an affective and tactile charge related to what we are exposed to. Within them, a great variety of articulations and nuances are connected to our feeling and understanding (of the world). The aim of the piece is to unfold, friction and break up this matters to expose them in their affective characters and our connection to them. Recorded sound can be thought of as a specific kind of acoustic event. This, as well as the sounds of all kind of electric phenomena, have become part of our listening culture. The fragments used in Res Extensa, different levels of recorded sound, are not a representation of the world but rather extracts of our vibrational experience, of our shared surface of perception, feeling and thought. The idea is to create a musical event based on the assemblage of different modes of listening. In Res Extensa sound matters and their implied listening habits are put against each other. The idea is to build a dramaturgy of the grain of sound in which each layer unfolds an array of sensations, a plane of continuous movement stripped of the acquired mechanisms of perceiving musical sound. Music as a language of matter, but language as an articulation of experiences rather than as a representative system.

GPaiuk ResExtensa (2005) [StereoVersion]

JJS    // live recording //
para 8 voces amplificadas / for 8 amplified voices

Nonsense Ensamble Vocal de Solistas
XXI Ciclo de Música Contemporánea del Teatro San Martín 
Sala Casacuberta, BsAs, Argentina 2017

video link: https://www.youtube.com/watch?v=n718TW5B0H4&t

Performed by Elisey Dregalin and Yury Posypanov

Anna Pospelova - Cephalalgia (2016) For Objects And Electronics (version)

Anna Pospelova "K" (2017) for bass flute and violin (MCME)

performed by symphony orchestra of the moscow state theatre named after natalia sats, conductor sergej mikheev. 
14.06.2018

my lovely dear machine

excerpt from the 2018VII29 concert performance within the ‘(im)possible object’ exhibition curated by sasha puchkova

‘introduction’ from the ‘songs of innocence’ song cycle with w. blake’s poems (written in 2016). performed by sasha elina;

improvisation by katya rekk (electronics), mitya burtsev (accordion);

‘all stars are(and not one star only)love’ from the ‘cummings songs’ work in progress (started in 2018). performed by anna khlyostkina

recorded live at cci ‘fabrika’

‘introduction’ (blake) | improvisation | ‘all stars are(and not one star only)love’ (cummings)

Gondoliers' song from Federico Garcia Lorca's last play "The Dreams of My Cousin Aurelia" (Russian translation). 

Music by Daniil Pilchen (from "The Language of Flowers" song cycle).
Performed by The Same Ensemble (Sasha Elina, cyril scheer).

Daniil Pilchen — "Gondoliers' song"

"Espejos" (obra realizada con el apoyo del Fondo Nacional de las Artes)

(Eva García Fernández -2020-)

para flauta, clarinete bajo, piano, guitarra eléctrica, violín, cello, vibráfono y batería.

Concierto - Entre Huellas Sonoras - Radio CASo (Noviembre 2020)

Ensamble Tropi

Flauta: Sebastián Tellado
Clarinete bajo: Constancia Moroni
Piano: Malena Levin
Guitarra Eléctrica: Manuel Moreno
Violín: Florencia Ciaffone
Cello: Alejandro Becerra
Vibráfono y batería: Juan Denari

Dirección: Haydée Schvartz

Si la obra quiere ser espejo del texto, entonces la presencia del texto en la música no puede sino tener la estructura de una ausencia.

Espejos aborda el vínculo entre texto y música incluyendo dentro de su construcción estructural el concepto central de dos poesías concretas de Octavio Armand, concepto que está íntimamente ligado al funcionamiento del lenguaje; este concepto es el de presencia-ausencia. Para dar cuenta de este concepto la obra utiliza una metodología que se basa fundamentalmente en la ausencia de la materialidad del texto, lo cual da lugar a la presencia de un nuevo material (sonido) que funciona como suplemento; de esta manera la obra devuelve una re-presentación sonora de la estructura formal de las poesías, pero despojada de su materialidad textual original.

Espejos

Espejos - para ensamble pierrot, guitarra eléctrica, vibráfono y batería - (2020)

- "26/IX/19" by Cyril Scheer
- Poem by Walt Whitman
- Performed by Sasha Elina

- Recorded in Feb 2020 by Cyril Scheer

JJS

valentin pelisch

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