Concert Three

How can we hear the wind? And how can we embrace memories? Everyone responds differently.

When the wind resonates with objects, I would hear it, and my memories resonate with the sound

of wind...In this piece, I could begin with a reflection on timbre as well as the different means of

resonance and continuation of sound. Based upon which, I enthusiastically delve into a wider

sound world where I continuously experience and search for the diversity and infinity of timbres

through the interaction between the acoustic instrument and the electronic music.

"Bellow" is a new live performance piece composed as a continuation of his noise works started with his work titled "Ajirak". This piece combines minimal glitch sounds, harsh noise walls and power electronics.

“Everything is ridiculous if one thinks of death.”

-Thomas Bernhard"

This past year I worked in a bookstore. I chose this profession mostly because I thought it would be quiet and relaxing, but it wasn't really either of those. Firstly, it was a very hip and frequently busy bookstore, so...not relaxing, but also the SOUNDS of the BOOKS. Books FALLING, and people FLIPPING THROUGH BOOKS, and PAGES RUBBING TOGETHER etc. etc. etc. Anyway, I figure it would be a good idea to make an electronic piece out of those sounds that I am now so familiar with.

N/A

The materials and approach to improvisation heard in this performance were first used to perform at a concert series called “Bread,” named after the food that was served before, during, and after each performance. Subsequent iterations of this approach to performance have been named after different components that comprise a loaf of bread. Accordingly, this performance is “Wheat.” No bread will be eaten during the course of this performance, though bread has been eaten at some point before this performance and will likely be eaten again some time after.

The intention of this piece was to replicate the techniques and styles of the Impressionism artistic movement with music recordings to create a dynamic atmosphere and natural landscape out of sampled sounds.

The Bull, for clarinet and fixed media electronics, pays tribute to the ‘Aboio’ culture; the song-like language employed by Brazilian cowboys when driving the cattle. The piece, divided into five parts and four electronics interludes, was inspired by two artworks. One is the series of lithographs by Pablo Picasso depicting a bull. In each iteration, the bull gets more abstracted and generalized, conserving only its more archetypal characteristics. The other is the story ‘Meu Tio Iauaretê’, or ‘My Uncle Jaguar’, by Guimarães Rosa. In this story, a jaguar hunter that has lived too long in isolation starts to behave more and more like a jaguar.

This composition depicts the human physical sensation in nature or in emotion. Touching, peeling, picking, sniffing, licking, chewing, rubbing, crumpling, pushing... What do you feel?

If the thought evaporates is an improvisation environment exploring harmony. A piece for instruments and interactive electronics, the MAX patch contains 6 instances of oscillators which listen to the performers, listen to each other, and make decisions on frequency, duration, amplitude, and some subtle effects based on the received information of the performance. With this piece, I’m more interested in creating a space, or a place for two (or more) to be together rather than providing a strict hierarchical relationship. On some level, I have attempted to give a general direction to this space. “It’s over there.” In summary, the piece is very quiet with long notes, some short notes, many pauses, and a specific harmonic framework. Still, this is only the vaguest idea: the details are left for you...

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