[Compositions 2021]
Composition 2021.01 (Realtime Life)
Composition 2021.01 (Realtime Life) was produced digitally using FM and physical modelling synthesis - and consists of two repeating tones - pitched at C2 - and D#2 - from the electric piano; and sinewave-based fading tones at C2 - C3 - and C4.
Composition 2021.01 (Realtime Life) was first presented at XOLO Space Generators #3 - Curated by Edward Griffiths - London.
Composition 2021.02 (Eternal Return)
What if some day or night a demon were to steal after you into your loneliest loneliness, and say to you, "This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence.” Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: "You are a god and never have I heard anything more divine” - Friedrich Nietzsche
Composition 2021.03 (Untitled)
Composition 2021.03 (Untitled) is sparsely textured and consists of two continuously repeating tones; one from the electric piano pitched at C2 - and the second is sinewave-based pitched at F#2. Both elements are separated by periods of silence.
Composition 2021.04 (Nothing Comes from Nothing)
The concept of ‘Nothing comes from nothing’ (οὐδὲν ἐξ οὐδενός/ex nihilo nihil fit) is a philosophical dictum first argued by the Greek philosopher Parmenides. There is no break in-between a world that did not exist and one that did - since it could not be created ex nihilo in the first place.
Composition 2021.05 (Karlheinz Stockhausen)
Composition 2021.05 (Karlheinz Stockhausen) is based on the twenty-four-tone pitch row from Karlheinz Stockhausen’s Klang series of compositions (2005-2007). The twenty-four notes of the row were organised by Stockhausen that allow for both consonances and dissonances to occur - which is reflected in this new composition. This is the pitch row: E2 - C2 - F2 - D3 - C#3 - D#3 - A3 - G3 - G#3 - B2 - F#3 - A#2 - D#2 - C#2 - D2 - F3 - C3 - E3 - A#3 - F#3 - B3 - G#2 - G2 - A2. It was used in its original form in the composition - and also in retrograde.
Composition 2021.06 (Unknown Metaphysics)
The aim of each composition is to create a balanced relationship between content and form - to create a coherent whole - and it is the union of these different relationships that create the identity of each individual work. This identity needs to be one that is unique - and that is identifiable - either on a subtle level from other compositions - or a distinct difference from the work of other composers. To maintain the balance of a composition each element needs to be the right thing - and which occurs at the right moment. There are no accidents - everything is there for a reason.
Composition 2021.07 (Rational Thought)
Composition 2021.07 (Rational Thought) is sparsely textured - and consists of a short sinewave-based tone at C4; a fading tone also at C4 - and a central pulsing sound at C3 - with the sounds separated by periods of silence.
It is believed by philosophers that a good rationale must be independent of emotions - personal feelings - or any kind of instincts. Any process of evaluation or analysis that may be called rational - is expected to be highly objective - and logical. If these minimum requirements are not satisfied i.e. if a person has been - even slightly - influenced by personal emotions - feelings - instincts - or culturally specific moral codes and norms - then the analysis may be termed irrational - due to the injection of subjective bias.
Composition 2021.08 (Elisabeth Lutyens)
Composition 2021.08 (Elisabeth Lutyens) is based on the tone-row from Elisabeth Lutyens’ Wing Quintet Op. 45 (1960) - with the notes of the row being transferred from wind instruments to sinewave-based sounds produced by FM synthesis. The basic tone-row of the quintet consists of the following pitches: F# - A# - D - A - C# - F - E - D# - B - C - G - G# - and is repeated seven times throughout the composition - with the tones slowly fading in and out of each other.
‘The initial basic cell, however small,. ..[contains] the possibilities within it for change and development in various proportions, tensions, relaxations, speeds, etc., in relation to each other. Once I have got my cell - probably but a few notes scribbled - the aural and formal possibilities grow in my mind: the why, wherefore, character and gesture of the whole work. Eventually I begin the writing down of the piece (alongside it any serial arrangement to be called upon).’ - Elisabeth Lutyens
Composition 2021.09 (Untitled)
Composition 2021.09 (Untitled) is sparsely textured - and consists of two layers; a central pulsing sound pitched at C3; and two fading sounds pitched at C1 separated by periods of silence. Ring-modulation has been applied to create a level of harmonic complexity.
Composition 2021.10 (Arnold Schoenberg)
Composition 2021.10 (Arnold Schoenberg) is based on the twelve-tone row from Arnold Schoenberg's Suite for Piano Op 25 (1921) - and consists of two layers; one with an electric pano - and the second with sinewave-based tones. This is the tone-row: E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭.
Composition 2021.10 (Arnold Schoenberg) was premiered at Corpora Aliena - IKLECTIK -.20.10.2021
It is believed by philosophers that a good rationale must be independent of emotions - personal feelings - or any kind of instincts. Any process of evaluation or analysis that may be called rational - is expected to be highly objective - and logical. If these minimum requirements are not satisfied i.e. if a person has been - even slightly - influenced by personal emotions - feelings - instincts - or culturally specific moral codes and norms - then the analysis may be termed irrational - due to the injection of subjective bias.
Composition 2021.08 (Elisabeth Lutyens)
Composition 2021.08 (Elisabeth Lutyens) is based on the tone-row from Elisabeth Lutyens’ Wing Quintet Op. 45 (1960) - with the notes of the row being transferred from wind instruments to sinewave-based sounds produced by FM synthesis. The basic tone-row of the quintet consists of the following pitches: F# - A# - D - A - C# - F - E - D# - B - C - G - G# - and is repeated seven times throughout the composition - with the tones slowly fading in and out of each other.
‘The initial basic cell, however small,. ..[contains] the possibilities within it for change and development in various proportions, tensions, relaxations, speeds, etc., in relation to each other. Once I have got my cell - probably but a few notes scribbled - the aural and formal possibilities grow in my mind: the why, wherefore, character and gesture of the whole work. Eventually I begin the writing down of the piece (alongside it any serial arrangement to be called upon).’ - Elisabeth Lutyens
Composition 2021.09 (Untitled)
Composition 2021.09 (Untitled) is sparsely textured - and consists of two layers; a central pulsing sound pitched at C3; and two fading sounds pitched at C1 separated by periods of silence. Ring-modulation has been applied to create a level of harmonic complexity.
Composition 2021.10 (Arnold Schoenberg)
Composition 2021.10 (Arnold Schoenberg) is based on the twelve-tone row from Arnold Schoenberg's Suite for Piano Op 25 (1921) - and consists of two layers; one with an electric pano - and the second with sinewave-based tones. This is the tone-row: E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭.
Composition 2021.10 (Arnold Schoenberg) was premiered at Corpora Aliena - IKLECTIK -.20.10.2021
