Paul Bailey: Retrace Our Steps (2004)
Paul Bailey: Retrace Our Steps (2004)
“Retrace Our Steps is a secular oratorio in 4 acts (2004) based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. the work explores the relationships between idealism, alienation, and consumerism.”
act 4
Retrace Our Steps, Graphic Libretto
curated by david toub
Jukka-Pekka Kervinen: But As Nothing (Canon #5) (2009)
Jukka-Pekka Kervinen: But As Nothing (Canon #5)
19 tone equal temperment (for re-tuned software synth)
http://xpressed.sdf-eu.org/kervinen/
Dave Seidel (mysterbear): A Door Into Spring (2009)
Dave Seidel (mysterbear): A Door Into Spring
Description
A rhapsody in distressed metal.
Duration: 9:14
I made a recording just under seven seconds long of the sound made by the spring inside my dishwasher door when it’s opened and closed. Then I slowed it down to a bit over nine minutes in duration and played it back in six layers, each at a different pitch. The layers are staggered low to high, making it a canon. Besides being time-stretched and pitch-shifted, the sampled sound has also been filtered, compressed, and reverbed, all in a few lines of Csound code. No other sounds, sampled or otherwise, were added.
(For the sake of completeness, I recorded the sample as a stereo 96K/24-bit WAV file using my Zoom H4 recorder. Then I used Audacity to trim it and convert it to mono before using the sample in Csound.)
Files/Downloads
MP3 (21MB, 320kpbs, 44.1/16)
FLAC (24MB, 359kpbs, 44.1/16)
Original sample and Csound orchestra/score (2MB)
via david toub
Samuel Vriezen: 20 Worlds (2005)
Samuel Vriezen: 20 Worlds (2005)
Two pianists journey together through a circular universe of twenty possible worlds. The worlds appear and disappear one by one, echoed between the two piano parts, and up to four of them may be present at the same time in a gradually shifting multi-cultural mosaic of musical worlds.In this piece, just as in the 5 extremely short “possible world” pieces I wrote in 2003, a ‘world’ is identified by a typical basic motivic gesture. Each ‘world’ varies on its basic gesture according to its own laws. These twenty worlds (Possible Worlds nr. 6-25?) are then intertwined to appear in eighty numbered sections. The eighty sections are arranged in a circular way: section 1 can follow section 80. The odd sections are only played by pianist I. Pianist II plays the even sections. Taken together, the odd and the even sections make use of the same material.
20 Worlds is dedicated to Dante Oei. If not for the many conversations we’ve had about Cage, Xenakis, Sibelius, etc. and his wonderful insights and intuitions about music, a piece like this would have been unlikely.
Samuel VriezenAmsterdam, October 19, 2005
