darkpebble-bluewave presents: October Grounds (1-8)

HIT-PARADE "ALL №1" for @Meticulous-Midgets anti-label from @CrazyCompass planet band. With Love!

Info: http://stopcran.ru/blog/2019-01-26-174 | Radio: http://mitota.club

HIT-PARADE: all №1 (january 2019)

Ganz besonders schräg

Arne Deforce Live Recording Abbaye de Royaumont 22/09/12

Commande pour Arne Deforce du Centre Henri Pousseur, du Grame Lyon et de la Fondation Royaumont / Voix nouvelles.

Foris est une des racines latines du mot forêt désignant plus particulièrement un « en-dehors », un lieu extérieur à la civilisation, un lieu sauvage et inconnu. 
La pièce développe dans un premier temps une multitude de modes de jeux enchainés rapidement et transformés en temps réel par l’électronique accentuant ainsi la perte de repère auditive entre le son produit et sa transformation. Après une période centrale statique ou l’espace se concentre sur un son pur produit par l’archet sur le cordier de l’instrument, Foris focalise sur certains des modes de jeux entendu dans la première partie, en les développant et en les variant à outrance. Si c’est bien d’une forêt qu’il s’agit c’est celle de l’imaginaire ou tout nous semble étranger : Bruissement, bruit sourd, déflagration, craquements, passages d’étranges entités. C’est aussi dans la partition même une densité d’événements qui est proposé à l’instrumentiste, une forêt de symboles. L’écriture gestuelle, poussée dans ses retranchements, force l’instrumentiste à devenir acteur, maitre et géographe de ce monde imaginaire. La spatialisation sur six canaux vient décupler l’écoute de cette espace si particulier. 
Je tiens particulièrement à remercier Arne Deforce pour son engagement et le travail de recherche que nous avons accomplie ensemble ainsi que Max Brucker pour le travail qu’il a réalisé sur la partie temps réel.  La pièce est dédiée à Arne Deforce. 
RC


Raphael Cendo FORIS for cello and electronics 2012 Arne Deforce live at Abbaye de Royaumont

Live-recording - Arne Deforce Cello, Centre Pousseur Liège electronics.

Solo for a melody instrument with feedback is a work for a soloist with live electronics (four technician assistants) composed in 1965–66 by Karlheinz Stockhausen. It is Nr. 19 in his catalogue of works. Performance duration can vary from 10½ to 19 minutes.

Feedback (Rückkopplung) in this case refers to tape delay, through which music played by the soloist is made to return after periods of time specified in six different form plans, one of which is to be chosen for any performance (Stockhausen 1971, 86). The performer is given six pages of conventionally notated material constituting the "content" of the work, and selects material according to certain criteria, playing it into a stereo pair of microphones that feed into the tape-loop system. Here a version has been made by Arne Deforce - "composed" so to speak - according to Stockhausens "Formschema Version III".

Stockhausen had been developing concepts of spatialization in his works, not only in electronic music, such as the 5-channel Gesang der Jünglinge (1955–56) and Telemusik (1966). Instrumental/vocal works like Gruppen for three orchestras (1955–57) and Carré for four orchestras and four choirs (1959–60) also exhibit this trait.  In lectures such as "Music in Space" from 1958 (Stockhausen Texte 1:152–75), he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was "a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass". (StockhausenTexte 1:153)

The feedback system for this Version III was made at Centre Henri Pousseur Liège in 2011, using Max/MSP. Pre-programming on the computer fulfills the functions originally assigned to the assistant technicians, thus requiring only a single assistant to control the sound.

Karlheinz Stockhausen SOLO für Melodie-Instrument mit Rückkopplung VERSION III Arne Deforce

“Timeless echoes” for solo Cello, live performer on painting with video projection and live electronic was commissioned by
Centre Henri Pousseur, Liège (CRFMW) for cellist Arne Deforce and painter Sirgid Tanghe.

“Timeless echoes” is inspired by ancient GuQin’s music (Guqin is a plucked seven-string Chinese musical instrument of the zither family) and has traditionally been favored by WenRen. (A person with ultimate knowledge of the arts.) In this composition, I’d like to demonstrate a coordinated control of articulation and of inflections in pitch, timbre, and intensity. It
is an exploration of the articulatory and vibratory characteristics of cello and Quqin. This composition sees the fruition of my explorations of the sonic possibilities of acoustic instrument with modern technology in the electronic part and video part.
I was very moved by painter Sigrid Tanghe’s heart taking painting and her live performance on stage, her live action-painting in this work will give a reflection of my passion in the relationship between Guqin’s music, Chinese calligraphy and ink painting.
With Arne Deforce, the Centre Pousseur and Sigrid Tanghe in this project, I’m sure that we’ll encourage a kind of multicultural musical performing art, at the same time
enhancing the intrinsic understanding of what is multi-cultural and multi-disciplinary exchange between musicians and audiences.

I dedicated this work to Arne Deforce, Sirgid Tanghe and CRFMW.

KeeYong Chong

Live Recording Permiére at Festival Images Sonores
Centre Henri Pousseur

Chong Kee Yong : Timeless Echo's for cello and electronics - Arne Deforce Live

Arne Deforce live recording concert series "8-Aktueel" Gent Museum for fine arts


Holliger Heinz : Chaconne for cello solo, Arne Deforce Live recording

Didn t lose your mojo

Over the world
And through
That silken thread
Released by you
We each hold a beginning
in our hands
Beautiful beads glides on the stream
from the ends
Surprisingly mines, always amazing yours
Yet still fascinated
extemporaneous
let the end from my hand
hiatus
astonished adornment
in such a silence
on air
to stay and look what happens
clarity will follow
what if we hear a falling tinkle?
what if we see some glimmers sprinkle?
What if Beauty holds my end
Closed the circle
Your mojo to bind?


A dear friend @beat4poets, a poetical vibraphone and a little lyrical story wrote by me in English, translated and read in Romanian

I m very happy and thankful for the wonderful musical atmosphere he created around and between the lyrics.

Please, look on his cloud @beat4poets there are interesting sounds, ideas, moods and the  multilingual project #Silent Earth

Nu Ai Pierdut Amuleta

Pete made a video  for this track https://www.youtube.com/watch?v=bcK0HAWfbbI
Collaboration with Pete (https://soundcloud.com/midipunk) who played these beautifull drums & Nata, (https://soundcloud.com/crazycompass), who sings guiding.

Lyrics:

Cuatro tripulantes de un viejo velero
viajaban siguiendo a la estrella polar
con tan buena suerte que uno de ellos
dijo que podía oírla cantar.
Vendaron los ojos de aquel marinero
cogiendo el timón se puso a navegar
y el barco empezó a flotar por el cielo
siguiendo el cantar de la estrella polar.
Y esta es la historia de aquel marinero,
capitán ciego del cielo y del mar.
Y esta es la historia de aquel marinero,
capitán ciego del cielo y del mar.

Polar(Capitán Ciego)- Crazy Compass Midipunk Eco Rem.

...limite les rêves au-delà (2017)
pour violoncelle et électronique
Dur. 60:00
Création : Arne Deforce (cello), Thomas Goepfer (live electronics GRAME). Maschinenhaus Essen, Ruhtriennale 2017, Allemagne, 4.09.2017.
Enregistrement: Radio Suisse Romande, Espace2.

...limite les rêves au-delà (2017). Arne Deforce (cello), Thomas Goepfer (live electronics GRAME)

October Grounds, 6, is the 1st of 2 album preview pieces that I am releasing.
I continue to evolve the mosesa instrument line, in this album I use a Cedar plate to filter and pre-amplify the string sounds, but I also use external and virtual pedal effects.
I improvise in what could be called "modern modal music", meaning that I reference each tone and timbre to the base tone of the instrument, but give myself full freedom of choices of tones and colors. 
Let me know how it sounds to you!
Download the full album here, pay as you wish https://darkpebble-bluewave.bandcamp.com/album/october-grounds-1-8
Enjoy!
Wilhelm Matthies

October Grounds, 6

October Grounds, 8 is the 2nd of two album preview pieces for the album
October Grounds (1-8)

In this piece I used my 8th mosesa. If you compare how the mosesa 8 sounds to the 9the one, you may hear that it has higher pitches, thinner strings and a thinner, lighter character.
As with October Grounds, 6, I mixed external and internal effects to get the sound quality that you hear, it is a semi-acoustic instrument using a thin wood bowl to filter and preamplify the sound quality before being processed. The intent is to have an instrument that is as versatile and as expressive as possible as established world instruments are such as the viola from Western Europe, the Kamnache from the Mid-East and the Erhu from the Far East but offering new sound qualities not heard by those instruments.

Compositionally speaking, this is an improvisation as the other 7 pieces are on the album, and this is the concluding piece, ie. summarizing the themes I used in the other pieces. 

As with “October Grounds,6”, this one is also a “modern modal piece,” meaning I intentionally use the physical and auditory vibrations of the instrument to find dominant tones and then to respond in contrast with sounds that cause expressive tension, but to also use sounds in degrees of concordance to blend towards resolution for expressive tension and release.

Please leave a comment on the track as it means a lot to me to hear how you think/feel about the presented piece. You can download the album, pay or do not pay as you wish here:
https://darkpebble-bluewave.bandcamp.com/album/october-grounds-1-8

Enjoy!
Wilhelm Matthies
10-21-18

October Grounds, 8

Yknows

This track has been waiting for it's time for several months)

CRAZY COMPASS: Eureka, California, United States - Moscow, Russia (may 2018 - january 2019) https://crazycompass.bandcamp.com/track/traces-only-digital

music: Michael VanderMallie @the-black-diamond-train
text/vocal: Nata Boundariver @crazycompass

СЛЕДЫ 

Следы уходящих струятся по всем направлениям. 
Мешают уснуть. 
Острый ветер перелистывает страницы, проникая всюду. 
Запутывает путь. 
Время вдыхает события и трогает за плечо.
Выдыхает тоже события. 
Ставни пустого дома стучат, призывая к себе усталых. 

--- 

TRACES 

Traces of outgoing are streamed in all directions. 
They prevent sleep. 
A sharp wind turns over the pages, penetrating everywhere. 
Entangles the path. 
Time breathes events and touches shoulder.
Exhales too events. 
The shutters of an empty house are knocking, calling to oneself all of tired.

---

Sorry for my pidgin-english)

Photo by Alexander Bozhday @Somebody-Bo

full

СЛЕДЫ / traces (with The Black Diamond Train)

I share music that I have made here solo or in groups. I am bundling my work with some online friends as a project oriented, micro-collective. We are happy to share with you!

https://darkpebble-bluewave.bandcamp.com/

Wilhelm Mattthies, John Daly (aka Tuneind52), Paulo Chagas and Matthias Boss