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Salvatore Sciarrino - Efebo con Radio, for voice and orchestra (1981)
WDR Sinfonieorchester Köln
Conductor - Kazushi Ono
Voice - Sonia Turchetta
Recorded: 16-18 February 2005 in the Kolner Philharmonie, Cologne, Germany
Details and Note from the Composer: https://www.salvatoresciarrino.eu/data/composition/ita/70.html
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https://www.youtube.com/watch?v=cF9J5uDTW6s
Pierre Boulez - ...explosante-fixe..., for solo MIDI-flute with live electronics, two "shadow" flutes and a chamber orchestra. (1991-93)
Ensemble Intercontemporain
Conductor - Pierre Boulez
MIDI Flute - Sophie Cherrier
Flutes - Emmanuelle Ophèle, Pierre-André Valade
Transitoire VII - 0:00
Transitoire V - 14:17
Originel - 30:33
...explosante-fixe... (...exploding-fixed...) is a piece of music composed by Pierre Boulez. Initially conceived in 1971 as a memorial for Igor Stravinsky, who died in April of that year, Boulez composed several different versions of the work between 1972 and 1993, culminating in a piece for solo MIDI-flute and chamber orchestra.
https://en.wikipedia.org/wiki/...explosante-fixe...
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...
https://www.youtube.com/watch?v=5uhbNnSGHug
Raphaël Cendo - Décombres, for contrabass clarinet and electronics (2016)
Contrabass Clarinet - Lori Freedman
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https://www.youtube.com/watch?v=gtUcrCs6D2A
Mark Andre - riss 2, for ensemble (2014)
Ensemble Modern
Conductor - Ingo Metzmacher
Born in Paris in 1964, the composer Mark Andre is considered a sensitive sound researcher. His music often touches the inaudible, breathing the spirit of utopia. This utopian spirit is also apparent in the group of works ›riss‹, in which the composer sets out three times in search of compositional inbetween spaces. »Riss«, meaning tear or rift, is an intermediate place, a space that separates but also conjoins what belongs together. The rift represents a moment of emptiness, but is also filled with events and experiences. In 2011 Mark Andre encountered the theologian Margareta Gruber while on a research trip to Jerusalem. Her essay ›Der Vorhang zerreißt‹ (The Curtain Tears), in which she points out the double figure of the rift in the Gospel according to Mark, delivered the decisive impulse for composing the group of works ›riss‹, which Mark Andre is writing in a non-numerical manner. In 2014, ›riss 2‹ was premiered by Ensemble Modern; it was followed in 2016 by the premiere of ›riss 3‹ by Ensemble Musikfabrik and in 2017 by that of ›riss 1‹ by Ensemble intercontemporain. Now Ensemble Modern first performs all three works on one evening, led by Ingo Metzmacher: on January 25, 2019 at Cologne’s Philharmonie, on May 2, 2019 at the Alte Oper Frankfurt, on September 7, 2019 at the Klangspuren Schwaz and on September 14, 2019 in Shanghai. ›riss‹ poses the question of the cohesion between individual elements, of unity within plurality – enabling the audience to observe the process of corresponding parallels in content and sound which arise between the works as the triptych takes on shape.
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https://www.youtube.com/watch?v=EW-ZEZ93mRI
Iannis Xenakis - Erikhthon, for piano and orchestra (1974)
Luxembourg Philharmonic Orchestra
Conductor - Arturo Tamayo
Piano - Hiroaki Ooi
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https://www.youtube.com/watch?v=d7ISDw5Xf4Q
Programmes used:
Converting PDF into PNG:
https://cloudconvert.com/pdf-to-png
Converting Youtube to mp3:
https://www.videoproc.com/
CMaj7's Score processor:
https://github.com/edwardx999/ScoreProcessor (link to download the code)
https://www.youtube.com/watch?v=YtzEPDZkE2M (tutorial)
The commands I used in this video were the horizontal padding (-hp) and vertical padding (-vp) commands. These commands remove all the whitespace surrounding the score horizontally and vertically, and adds a white border (h/v) which is as many pixels thick as the number given:
sproc *.png -hp 75 -vp 75
In the command prompt in the video at 2:01, I used 200, however I later changed it to the command above, as the score looked better with horizontal and vertical borders of 75 pixels.
The score shown as an editing demonstration is Dérives by Gérard Grisey. The score video can be found here: (out at 9pm BST)
Background music: Morton Feldman - Rothko Chapel 5
https://www.youtube.com/watch?v=Y8al_H6IRaQ
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https://www.youtube.com/watch?v=EuAV21XfPz0
Iannis Xenakis - Khoaï, for solo harpsichord (1976)
Performed by Elisabeth Chojnacka
Khoaï was written in one of Xenakis's most prolific periods, not only as a composer, as he composed four chamber works only in 1976, but also as a lecturer, as he traveled around the world and was present in many performances. The title refers to "offerings of wine or water poured into the ground; libations and vows to the Chthonians (infernal Gods)". It was written in a period where the harpsichord was gaining momentum as a concert instrument, popularized by some Polish virtuosos such as Wanda Landowska and the dedicatee of this piece, Elisabeth Chojnacka, who collaborated frequently with Xenakis throughout most of his career. Khoaï was the first in a series of commissions entitled "Musik der Zeit", made by the Westdeutscher Rundfunk in Cologne.
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https://www.youtube.com/watch?v=ppoXwKHJdRw
Iannis Xenakis - Waarg, for 13 instruments (1988)
Contempoensemble
Conductor - Mauro Ceccanti
Xenakis enjoyed a long and fruitful relationship with the London Sinfonietta. He composed Phlegra for the ensemble in 1975, and completed his fourth commission for them in 1997 with O-Mega. Waarg (1988) was a follow-up to the highly successful Thalleïn, premiered in 1985. While the earlier piece is characterized by a particular brilliance, Waarg is dense and rather sombre; the title itself means "work," perhaps an indication of its serious tone. While certainly challenging from a technical standpoint, Waarg is more orchestral than chamber-like, indicating an aesthetic shift in the years following Thalleïn.
Waarg's opening features the winds in a sustained expansion from a single pitch to a chord. The emphasis on tone color is striking as the central note is passed from one instrument to another. The focus thereafter is on harmonic color, though instrumental timbre continues to play a role as Xenakis often treats the woodwind, brass, and string instruments as distinct entities. Xenakis sculpts and orchestrates the sonorities with great subtlety, fleshing out melodic passages with the addition of close-voiced parallel harmonies or clusters. The tempo is generally quite slow, but ostinato figures, often comprised of just two notes, provide rhythmic propulsion.
Waarg takes shape in a quite fluid manner, various strands of material flowing over, under, and into one other. Gradually, the activity accumulates, with more and more frequent intrusions of faster elements. At Waarg's high point, there is an extraordinary passage in which each instrument pursues its own intricate path, creating a brisk contrapuntal texture of great density. A slow and chorale-like -- though fitful -- section for woodwinds and strings brings the work to a close.
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https://www.youtube.com/watch?v=1IsRL-Afx40
Tristan Murail - Winter Fragments, for flute, clarinet, violin, cello, piano and electronics: [Macintosh, clavier MIDI, amplification + reverb] (2000)
Argento Chamber Ensemble
Conductor - Michel Galante
"As a rule I don't like naming a piece before I've finished writing it, like counting your chickens before they're hatched. The completed piece may well differ considerably from the initial project, which is a concept, ideas, sounds and images, while the finished product is sound, organised within time. There's a gulf between the two. So this title has to be taken for what it's worth. It is at one and the same time an acknowledgement of the festival where the piece is to be created ("Sounds of winter and today"), and the experience of a genuine winter last year, particularly where we now live, to the north of New York, a region of lakes and small mountains. The lake in front of our house was frozen over, and there were sixty centimetres of snow all round. For the most part the sun shone brightly and its intense light bathed the house, which is open to nature all round. Sometimes a violent storm would arise, followed by silence, and the blinding light would come back. Perhaps the "fragments of winter" are there."
- Tristan Murail
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...
https://www.youtube.com/watch?v=fUinClibakA