Performance of Chamber Version
Luminosity Orchestra
February 24th, 2017
Pythian Temple, Tacoma, WA

Stalasso

The Map and the Territory (2020) | a 60 seconds reflexion
by Ruben Seroussi (b. 1959)

* World Premiere Recording *
| The Israeli Contemporary Music Project

(photo by Eva Gentner)

Ruben Seroussi: The Map and the Territory | Hagai Yodan, piano

No 23 Serenades II-IV (2004), for Electric Guitar Quartet. Dan Lippel, (all) guitars. Studio recording 2021. (image: Repulsion - Ata Mohammadi)

From the album 'Aufs Lautenwerk' (2021)
Newfocusrecordings
https://danlippelguitar.bandcamp.com/album/bach-aufs-lautenwerk-bandcamp-exclusive-edition-w-bonus-ep-of-new-adriaansz-ueno-works?fbclid=IwAR0K1Njy_kVPr8M5R-Di8UBPTn9UOYQrfFuC9S9bCo054l7OZPGD017BIZA

No 23 Serenades II - IV (2004)

| Frédéric Chopin's first piano ballade, op. 23

Frédéric Chopin: Piano Ballade no. 1, op. 23 | Hagai Yodan, piano

Labyrinth no. 3 - Sostenuto, free (from Labyrinths, 2005)
by Nadav Cohen (b. 1983)

| The Israeli Contemporary Music Project

Nadav Cohen: Labyrinth | Hagai Yodan, piano

Miniature à la manière de Pierre Boulez (2020)
by Yonatan Ron (b. 1992)

* World Premiere Recording *
| The Israeli Contemporary Music Project

Yonatan Ron: Miniature à la manière de Pierre Boulez | Hagai Yodan, piano

Album information: 
https://youtu.be/TFtbyrfRoFk?si=d7pUL8tpTmT4FLpM
https://music.apple.com/us/album/%E5%82%AC%E5%8C%96%E6%95%88%E6%87%89-%E8%9E%8D-%E5%85%B1%E6%84%9F-catalysis-fusion-of-senses-live/1685992904

Premiere: 3PeopleMusic Ensemble + Quatuor TANA
February 15, 2020. Le Phénix, France
Performances: 3PeopleMusic Ensemble + Taiwan String Quartet
five performances on June 3-5, 2022. Taipei, Taiwan

Pressed Flowers in Glass for three Chinese instruments and a string quartet

G.N.Z. for voice (tenor or other) and electronics
Tenor: Benjamin Alunni
Espace de Projection, IRCAM, Paris
September 21, 2023

Full performance available here:
https://medias.ircam.fr/x714fdd_gnz-omer-barash

G.N.Z. [excerpt]

UW Modern Music Ensemble
Cristina L Valdés, Director

Seattle Modern Orchestra
Julia Tai, conductor

Rachel Reyes, flute
Angelique Poteat, clarinet/bass clarinet
Ryan Kaspandy, bassoon
Luke Fitzpatrick, violin
Rose Hashimoto, viola
Ha-Yang Kim, cello
Alex Fang, piano

I. Times sway
II. Echoes, decay...

The piece explores different types of oscillations, these may present themselves in the form of a simple, repeated melodic interval at a regular rate, or complex, acoustic beats that occur when an interval smaller than a semi-tone is sustained. This notion of stable &amp; regular ratios is also used to serve the majority of rhythmic & metric detail in the piece.

The first movement is based on cascading, scalic patterns that transform into slow melodic-steps and vice versa. While the texture is mostly polyphonic, many phrases and strata intersect with heterophony as well as homophony due to the voices’ proximity in range, or similarity in timbre and rhythm. This movement starts and develops with dense contrapuntal textures and concludes with sparsely voiced chords.

The second movement resonates with the concepts of the first and serves as an echo of the materials explored in it. Differently than the first movement, apart from the imitations at its beginning, in this movement - the degree of autonomy among voices is high, given that voices differ from each other in either rhythm, timbre, or range.

Both movements develop in an interrupted continuous way. There are barely any sudden changes, raptures, nor rests, so that when they occur, their dramatic impact seems substantial.

Performed in Meany Hall—Katharyn Alvord Gerlich Theater on May 3, 2024

Times sway

Performance by the Inverted Space Ensemble
Chapel Performance Space, Seattle, WA, 10/25/2013

The title "Tabula Russia" presents a phonetic and semantic allusion to the well-known Latin expression "tabula rasa" (blank slate). This is how the wax tablets used for notating texts were used in antiquity. Before a new text was inscribed, the old text was erased. 

The main sonar idea in my composition was the sound of the Russian low bell. In Russian bells, unlike most of the European ones, there is an oscillation not of the cupola, but of the bell, which makes it possible to mould very large bells that emit very low tones, extremely abundant in overtones. This primeval bell rumble forms a remarkable combination of the harmonious cosmos of overtones and the chaos of the multitude of "arbitrary" side-tones, a peculiar kind of sound "chaosmos." Chaos fraught with cosmos, with orderliness – this metaphor, as it seems to me, contains an important archetype of the Russian consciousness. Russia, being in search for its identity, continuously rewrites its own history, each time starting from a "tabula rasa".

Times sway

Yonatan Ron

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