Eris – Jon Brenner (2011)
From the composer:
“‘Eris’ was originally written as a wind ensemble piece in late 2006. the piece is named after the dwarf planet that was responsible for the ousting of pluto. This version of ‘Eris’ was recorded in May, 2011, with synthesizers, electric guitars, electric piccolo bass, and electric bass with one on a part.”
Jon Brenner is a Seattle-based composer and musician who writes contemporary art music and performs chamber music, new and old. His works include music for soloists, chamber ensembles, film, art installations, and larger ensembles. Jon plays viola da gamba and harpsichord and has appeared with the New Baroque Orchestra in Seattle.
Artwork for ‘Eris’ by Jon Brenner
Further information at www.jonbrenner.com.
Embody the Struggle, Evan Kuchar (2010)
Embody the Struggle, Evan Kuchar (2010)
“Chamber minimalism with electronics. Violin, clarinet, cello, bass clarinet, piano, synths, drum machines. Slowly unfolding introspection, building, climaxing, remixing.”
Embody the Struggle by evankuchar
Bruce Hamilton-Glibs (2010)
“Glibs” is about trying to create a static yet floating or soaring environment. I use Paul Muller’s minimalist textures a lot in my IF (ImprovFriday) mashes and usually use most or all of his tracks, but this time i just took a few bars and looped them with some processing to create a pulsing, energized, harmonic pad.
To this groove I couldn’t resist adding and tweaking Jukka-Pekka Kervien’s glitchtronica, which is also very busy but ultimately a static texture. On top of these controlled fireworks Adam Kondor’s sparse string lines hover, providing an acoustic contrast with slow melancholic melodies and counterpoint. I manipulated these lines a fair amount to get them to sit right in the harmony and in the mix.
Finally I added some warm pizzicato bass tones to flesh out the spectrum and add harmonic nuance. So ultimately it’s the acoustic string elements that provide form, and the electronic parts ,both stable and chaotic, that serve as eternal and essentially unchanging presences.
I like the simultaneously human and otherworldly feelings thesecontrasts can provide, and love the fact that these elements were contributed from around the planet and remixed within a weekend.”
via Improv Friday Event June 17th-19th 2010
commentary via Improv Friday podcast August 18th 2010
Shane Cadman: Music for Insomniacs #3 (2009)
Shane Cadman: Music for Insomniacs #3 (2009)
from his website…
“This page is dedicated to a collection of acoustic ambient compositions I am writing called “Music for Insomniacs.” These pieces are composed on no more than three staves and have no specific instrumentation, so that they can later be orchestrated as needed/desired by the performers. They will each be slow in nature (otherwise how could someone fall asleep to them), and generally five to ten minutes long. These also fit nicely into a concept I have called “realistic music.” “Realistic music” is music that can be performed live at an acceptable level by competent musicians with no more than three hours of rehearsal time.The scores on this page are free to print and perform. All I ask is that you report any and all performances to ASCAP, as well as to Illustrious Music. Also, while performance tempos are marked on the scores, they are there as reference points – the pieces may be played faster or slower as desired by the performers…”
Drṓwryh Creesp: Tulsan Twilight
Drṓwryh Creesp: Tulsan Twilight
“Formed in 2007. Drṓwryh Creesp is a one man project from Brisbane, Australia. Guitar and piano lie at the centre of the music with the aid of strings, an array of percussion, bass and various others.
Initially called Ulin Vod Naar, and creating dark ambient/industrial sounds, Drṓwryh Creesp changed its direction towards ambient instrumentals and therefore the few works completed as Ulin Vod Naar entered the Drṓwryh Creesp catalogue as an album entitled “Ulin Vod Naar”, as well as the “Beacon” release.”
curated by Shane Cadman
