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Thread: 21st Century Chamber Music

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    Senior Member SanAntone's Avatar
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    Catherine LambParallaxis Forma



    Beautiful.

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    Senior Member SanAntone's Avatar
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    Bernhard Lang (*1957) - GAME 2-4-5: "The Mirror Stage" (2020)
    music theater for 4 singers, electric guitar, ambisonics and lights



    HYOID:
    Els Mondelaers, soprano
    Fabienne Seveillac, mezzo-soprano
    Andreas Halling, tenor
    Tiemo Wang, baritone

    Kobe Van Cauwenberghe, electric guitar

    IRCAM:
    Robin Meier, computer music design
    Sylvain Cadars, sound engineer

    Lucas Van Haesbroeck, lights/scenography

    World Première, 24 October 2020, Festival 20·21


    Program Note by the Composer:

    In Autumn 2016, I started a new series of pieces called “Series Six: Theory of Games”, the first being GAME ONE: S.O.S (self-organizing systems); this series is based on the ideas of Game theory, as outlined in Neumann/Morgenstern’s “Theory of Games and Economic Behavior”. Since then I wrote 3 pieces: GAME ONE, GAME 3-4-3 and GAME 4-4-4.

    Now HYOID and I are working on a continuation of this research in the context of music theater, involving the line-up of 4 Voices and one Electric Guitar with live electronics: The Mirror Stage.

    The piece shall explore the notion of self-organization in both a musical and choreographic context: the musicians have to make decisions during the piece/game, creating open structures of narration. The texts are presently thought to be self-referential, using original quotations from game theory, from Wittgenstein's late writings on Sprachspiel, and psychoanalytical interpretations of Sprachspiel by Lorenzen.

    Since the music of The Mirror Stage is referencing to polyphonic music of the 15th and 16th centuries, there arose the idea to create virtual cathedrals by composed lighting, and furthermore by a sophisticated spatialization (ambisonics), integrated thanks to our partnership with Robin Meier and IRCAM.

    Since most games include structures of repetition, this may be also be considered as a continuation of our research into the essence of repetition, which we already had joined in within our work Difference/Repetition 26 “The Exhausted”, based on Deleuze's “L'Épuisé” (piece Fabienne Seveillac premiered with soundinitiative in Australia in September 2015).

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    Senior Member SanAntone's Avatar
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    Annika SocolofskyOne wish, your honey lips
    performed by Emissary Quartet (flute quartet)



    Composer's note:

    As a vocalist, I have long been obsessed with the nuanced resonance of the human voice, and in particular the timbral variation and inflection inherent to many folk vocal traditions. These highly expressive micro-variations deliver intense pangs of emotion that can be sung in the subtlest of ways. They are distilled, fleeting moments of suffering and joy that fall between the cracks of melody and harmony. This piece is about the music that exists between the notes.

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    Senior Member SanAntone's Avatar
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    Dimitri PapageorgiouIn the Vestige of the Present (2009)



    Trio IAMA:
    Jiannis Anissegos — flute
    Maria Anissegou — cello
    Antonis Anissegos — piano

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    Moderator Art Rock's Avatar
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    Quote Originally Posted by SanAntone View Post
    TED HEARNE

    notes: Furtive movements is a piece for cello and percussion, performed in four consecutive sections with no breaks.
    I found this a fascinating piece by a composer I had never listened to. Thanks for sharing!
    Last edited by Art Rock; Apr-29-2021 at 10:22.

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    Senior Member SanAntone's Avatar
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    Patricia Martínez — Voces Otras



    2017, interdisciplinary work for 2 sopranos, mezzo, contralto, 2 tenors, 2 baritones, and lights on stage.

    Commissioned by the Contemporary Music Concert Series
    THEATER COMPLEX OF BUENOS AIRES
    Director: Diego Fischerman
    Nahuel Carfi, general production coordination; Lourdes Maro, production coordination

    Nonsense Vocal Ensemble of Soloists

    Virginia Majorel and Lucia Lalanne, sopranos
    Evangelina Bidart, mezzo soprano
    Valeria Martinelli, contralto and musical direction
    Martín Díaz and Marco Cuozzo, tenors
    Alejandro Spies and Jonatan Favilla, baritones
    María Bonaz and Ricardo Toro, production of Nonsense EVS

    Work based on poems Life seriously (1967) by Juana Bignozzi and
    The vision (1953) by Silvina Ocampo.

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    Senior Member SanAntone's Avatar
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    Ying WangTunTu

    „Tun“ and „Tu“ are two chinese characters. The former can be interpreted as the vastness of space in the universe and the latter refers to the motion of inhalation and exhalation. The selection of these 2 characters as a title is to express the construction of a large and differing timbral space using different combinations and contrasting timbres of the baritone saxophone and electronics.

    The structure of the work is based on specific numbers of individual sound objects with unequal and differing length. The organisation of which is based on the principle of contrast and confrontation. Each sound object (and resultant timbre) is regarded as a composite of various and indefinite smaller individual composants. Every element of these smaller composants are linked by alternating, overlapping or inverting. And silence is used to link each tone.

    I used various softwares to help me in the composition of the piece. For example:

    I used C-sound like a plugin in OM to change the timbre and spectrum in order to obtainthe electronic sounds.
    In Audio Sculpt, I use the Partial tracking analysis and put the result in synthesise FromPartials make the second time analyse, its results to obtain a clear frequence.
    I also used Spectraldelay in MAX to obtain a moving band frequence in the electronic
    sound etc.The work consist of 3 groups, the Electronics and Real-time processes and the virtuosic Baritone Saxophone part. The 3 groups are part of an indivisible whole that cannot be seperated. Any partial lost of its total sum would result in the other not being able to stand on its own.

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    John Adams (born 1947), String Quartet no.2 (2014)


  11. #114
    Senior Member pianozach's Avatar
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    Quote Originally Posted by SanAntone View Post
    Christopher CerroneMemory Palace (2012)
    performed by Ian Rosenbaum

    I don't know.

    I don't seem to be able to wrap my head around a 3/5 or 2/5 time signature.

    3/5 - so three counts per measure, with each 1/5th note getting a count. What the hell does a "fifth" note even LOOK like. How do you notate one of those? I mean, it's something between a quarter note and an eighth note, right? So does the note just have a minimal flag on it?
    Last edited by pianozach; May-02-2021 at 07:33.

  12. #115
    Senior Member SanAntone's Avatar
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    Quote Originally Posted by pianozach View Post
    I don't know.

    I don't seem to be able to wrap my head around a 3/5 or 2/5 time signature.

    3/5 - so three counts per measure, with each 1/5th note getting a count. What the hell does a "fifth" note even LOOK like. How do you notate one of those? I mean, it's something between a quarter note and an eighth note, right? So does the note just have a minimal flag on it?
    You divide the pulse of the measure into fifths, marked in the score with a bracket above the staff with a five over it. This is no different than a triplet, but instead of three notes played in the time of two, this is five notes played in the time of four. What the time signature of 3/5 means is that the measure is truncated, i.e instead of all five notes, you only allow for the first three.
    Last edited by SanAntone; May-02-2021 at 12:59.

  13. #116
    Senior Member pianozach's Avatar
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    Quote Originally Posted by SanAntone View Post
    You divide the pulse of the measure into fifths, marked in the score with a bracket above the staff with a five over it. This is no different than a triplet, but instead of three notes played in the time of two, this is five notes played in the time of four. What the time signature of 3/5 means is that the measure is truncated, i.e instead of all five notes, you only allow for the first three.
    So, it's basically in 4/4 but with a whole note divided into 5 counts.

    So, it's basically in 4/4 .

    So, it's in 4/4.

    This sounds like fifth notes are the same as quarter notes, but they don't have as long a value. How about you put it in 3/4 and up the tempo a little for that one measure?

  14. #117
    Senior Member SanAntone's Avatar
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    Quote Originally Posted by pianozach View Post
    So, it's basically in 4/4 but with a whole note divided into 5 counts.

    So, it's basically in 4/4 .

    So, it's in 4/4.

    This sounds like fifth notes are the same as quarter notes, but they don't have as long a value. How about you put it in 3/4 and up the tempo a little for that one measure?
    This is more precise and controlled, you keep the tempo the same but it gives the impression of speeding up. This is really a very common procedure, tuplets have been used in this manner for decades. Now, nested tuplets, then it gets a little complicated.

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    Senior Member pianozach's Avatar
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    Quote Originally Posted by SanAntone View Post
    This is more precise and controlled, you keep the tempo the same but it gives the impression of speeding up. This is really a very common procedure, tuplets have been used in this manner for decades. Now, nested tuplets, then it gets a little complicated.
    "Dammit, Jim! I'm a musician, not a mathematician!"

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  17. #119
    Senior Member SanAntone's Avatar
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    Anastassis Philippakopoulos - Piano Piece (2018)



    Minimal materials but Philippakopoulos offers an evocative and expressive solo piano miniature.

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  19. #120
    Senior Member SanAntone's Avatar
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    Achim BornhoeftAceton (2009)



    performed by Ensemble Go Guitars: Gunnar Geisse, Harald Lillmeyer, Johannes Öllinger, Adrian Pereyra
    Aceton, for 4 electric guitars & live electronics
    Last edited by SanAntone; May-10-2021 at 13:39.

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