In this second volume of Between Lines, the duo Seuil Optique reenacts wanderings with closed eyes from electric flashes. This album is similar to the passage of the nocturnal hours which open imaginaries modulated by a principle of uncertainty. The plans, the lines, the hapax make us cross subtle borders dammed under the creases of the eyelids. Each piece retains the retinal imprint of a chance burnt by electronic transmissions. Between Lines 2 promises to be a trajectory that transforms each of our inner pulsations into so many refractory, impromptu and incandescent dialogues.

Sig Valax : Persephone, Modular System, Synths.
Nicolas Tourney : Drones, Synths, Pure Data System.

Seuil Optique - Between Lines 2 - Gathering Space

Nerkstura

21 3 1

Marco Lucchi : mellotron and flute

22 dicembre 2021

photo by Jill Rankin

Mellotron-ing all day long

Track 7 from the album 'Zijn'

About the album:
I have continued to work with A=432Hz tuning, exploring the possibilities of sustained sounds. I have been working towards an even more static atmosphere than on my previous albums.

I'm very interested in the role of time in this kind of music. The sounds have a different effect and meaning depending on how long they last. To me, the music becomes a vehicle to accomplish a meditative state.

released November 15, 2021

Instruments used on this album: Acoustic guitar, Acoustic guitar with ebow, Sustainer guitar, Soma Lyra 8 synth.
Recording, Production, Photography and Design: Simon van Weelden
© Geluidenfabriek, 2021

Inkeer

You can learn to play this piece. FREE scores and parts, among other materials, are available online: 50ftf.kronosquartet.org

Composed by Aruna Narayan, arranged by Reena Esmail
© 2019 Inner Sunset Publishing
℗ 2022 Kronos Performing Arts Association
Commissioned for Fifty for the Future: The Kronos Learning Repertoire

Produced by Kronos Quartet and Reshena Liao
Recorded September 2021 at 25th Street Recording, Oakland, CA
Engineered by Zach Miley
Assistant engineer: Gabriel Shepard
Mixed by Zach Miley and David Harrington, January 2022

Aruna Narayan - Mishra Pilu

"Copia carbone" (2022, for ensemble)
Commissioned by Ensemble Proton Bern, in the frame of Protonwerk n.11. 
Instrumentation:  B.Fl, Lup, C.Cl, Bsn (+Cf), Midi ctrl, Hp, Vn, Vc
Live Recording:  15 March 2022 @ Dampfzentrale, Bern (CH), WP
Ensemble Proton Bern, Aaron Cassidy (cond.)
Score published by Ricordi, Milan.

Copia carbone (2022)

better with headphones!

Royaumont abbey's Cavaillé-Coll organ

Thomas Lacôte — organist
Julie Zhu, Brendan Champeaux — assistants
Rémi Le Taillandier — rec & mix

03/01/22, abbaye de Royaumont (FR)

Tesseract (2021) | Solo organ | Thomas Lacôte - Royaumont

Dedicated to all those that sometime in their lives felt unrequieted love.

AUSÊNCIA

Má sorte,
casualidade, um puro acaso. Eu nunca quis apaixonar-me.
Foi descabido, decerto errado. Possivelmente até pecado.
E eu não quis ser assim. 
Não quis ser um fardo, não te anunciei o fogo em mim.
E tu seguiste o teu caminho, sem suspeitar o que eu senti por ti.

Dói-me a tua ausência, sinto-a cruelmente,
mas só porque em mim ainda (tu sempre) estás presente.
Sinto-te na brisa e na tempestade,
nesta noite imensa de espaço e saudade.
E vejo-te em Vénus, e vejo-te em Marte,
e vejo-te na Lua, e vejo-te em toda a parte,
em Plutão lá longe, nas ruas desertas,
no passar de sombras de origens incertas.

Ausência

Yuge

Clarinette - Martin Adamek
Basson - Paul Riveaux
Accordéon - Vincent Gailly
Percussion - Giles Durot
Piano - Antoine Petit-Dutaillis
Contrebasse - Louis Siracusa

Captation et mixage - Jean-Marc Lyzwa

instinct

instinct

Je considère le son comme une matière organique. Dans instinct, je souhaite lui donner vie par ses différentes évolutions. J'imagine ses transformations comme une mutation progressive avec des imprévus et des continuités.La musique prend alors l'apparence d'un espace, d'un liquide, d'un solide, s'agrège se désagrège, se transforme ou se rompt.

J'utilise l'un des 6 modules du Myanmar, instrument de percussion en 12ème de ton sur 3 octaves que j'ai imaginé et fait réaliser. L'intégrer me permet de mieux l'apprivoiser et le connaître davantage.

Instinct - Ensemble Intercontemporain & DAI

Commissioned and premiered by the Kaleidoscope Chamber Orchestra, Laura Arganbright and Robert Walker oboes.

Video of this performance here: https://www.youtube.com/watch?v=fRWutfyY2eo

During the Baroque era the double oboe concerto was somewhat of a genre, especially among Italian composers. Alessandro Marcello wrote two, Antonio Vivaldi wrote four, and Tomaso Albinoni—who seemed really taken by oboe—wrote eight. Over the last few years, I too have grown to adore the instrument. In fact, I’ve become such an admirer of the oboe and other double reed instruments that in 2017 I wrote a piece for double reed sextet called Extra Fancy. The sextet is an exploration of “extra fancy” techniques that these instruments can produce, particularly multiphonics. Multiphonics are produced when the performer uses a technically incorrect fingering to create a distorted, complex sound with two or more pitches. Multiphonics can sound bizarre (if not foul) to some listeners, but I’ve always found them to be enchanting and, for lack of a better term, misunderstood.

Though the pieces don’t share any musical material, I think of Extra(ordinarily) Fancy as a bigger and better sequel to the sextet. While the concerto again explores the melodic potential of various multiphonics, it also works as a whimsical exploration of duality; while one oboist is focused on sounding ordinarily fancy, the other oboist is determined to prove the extra fancy virtues of multiphonics. After a short Vivaldi-esque introduction that establishes the main melodic ideas of the piece, the oboists go at it. They mock each other, squawk at each other, and even talk over each other. The orchestra observes and joins in as the oboists continually bicker back and forth, all culminating in a reconciliation where the once-hesitant oboist learns (and even enthusiastically performs) a few multiphonics alongside the other oboist.

This piece was commissioned in 2019 by the Kaleidoscope Chamber Orchestra and is dedicated to oboists Robert Walker and Laura Arganbright.

Extra(ordinarily) Fancy: Concerto for Two Oboes

Called “alluring” and “wildly inventive” by The New York Times, the music of Viet Cuong (b. 1990) has been performed on six continents by ensembles such as Sō Percussion, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Albany Symphony, and Jacksonville Symphony in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Cabrillo Festival of Contemporary Music, Midwest Clinic, and International Double Reed Society Conference. Additionally, his work has been featured twice on American Public Radio’s Performance Today and his wind band works have amassed over a hundred performances by wind ensembles worldwide.

Extra(ordinarily) Fancy: Concerto for Two Oboes

Viet Cuong

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