composers
A place to share original compositions, works by favorite composers, theory, analysis, and all things related.
@lonewick
Current listening. More Colin Stetson. This album is insane.
"The music on New History Warfare Vol. 2: Judges was captured entirely live in single takes with no overdubs or looping (except for the French horn section on "All the days I've missed you", and guest vocals on various other tracks), using over 20 mics positioned throughout the live room."
https://www.youtube.com/watch?v=VY3KYNMVtJI&list=PLnpQFjefXCROSKaSWDOtHyWEUXJ0B4Yiu
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@lonewick
New Colin Stetson track.
He’s the crazy sax player that did the soundtracks for Hereditary, Mayday, Among the Stars, the new Texas Chainsaw Massacre, The Menu, Uzumaki, etc.
https://youtu.be/wcrzvTlgb7U?si=GszQHhqVmroLXPHp
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@lonewick
'Composer and pianist Richard Carrick's recent work fuses his penchant for long form composition, fluency in extended techniques, versatile performance practice, and interest in structured improvisation. This newest album-length work, l’Algérie is the second part of a trilogy of large-scale works inspired in part by the music of the Maghreb region of North Africa, drawing on Carrick's own family background and a fresh approach to the region's diverse musical heritage.'
https://newfocusrecordings.bandcamp.com/album/richard-carrick-l-alg-rie
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@lonewick
'With the battle of Pavia in 1525 a long period of Spanish domination began for Milan. Under the reign of Charles V the arts and music flourished. Antonio de Cabezón travelled across Europe visiting Milan in 1548 and his music influenced the great European composers. Contrary to keyboard instruments, lute and vihuela already have a vast repertoire in print. The combination of a keyboard instrument (tecla) with the vihuela (called “viola da mano” in Italy) is common in the sources of Spanish influence of this period, which often bear the indication “para tecla y vihuela”.
Evangelina Mascardi and Maurizio Croci, explore the affinities, the contrasts and, in the words of an
enthusiastic chronicler of the time, the “unheard of
imitations” that arise from the dialogue between the two instruments."'
https://youtu.be/PnTOUQGYRIY?si=m5NxR0BozGpJ-eMG
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@lonewick
New release I’m listening to:
‘India’ by Swedish classical guitarist Johannes Möller
https://youtube.com/playlist?list=PLT8YR31Cud-czHlSZIRdnh3YcBXTnfMsL&si=DQzvLMMMkS1P-qZ8
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@lonewick
Current listening:
Bach, Telemann and Weiss: Baroque Lute Music | Xavier Díaz-Latorre · Mar... https://youtu.be/NFBdFajEW1c?si=YsdNj_6YmvuGhkSJ
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@lonewick
UNRISEN | recording + score
By Marco Momi
https://youtu.be/aTXDxHPlDFk?si=QH8oRg6V6DV9G3nB
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@lonewick
Harry Partch (1901–1974) was an American composer, instrument builder, and theorist who rejected the standard Western tuning system and built his own musical world from scratch. Dissatisfied with equal temperament, he developed a microtonal system of 43 notes per octave based on just intonation, believing music should reflect the natural harmonic series more closely.
https://youtu.be/vmfybRdPzR8?si=QfL2v5igo2zdHPBL
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@lonewick
‘Machine Spectre’ (2024) by Ess Whiteley
https://youtu.be/6xTknOFBVn0?si=mxtvBrlyjC56AmZ4
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@lonewick
‘Images from a Closed Ward’ by Michael Hersch
https://youtu.be/dF6_dOv2fd0?si=GjJoR3suVkqEPh2U
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@lonewick
A composition grows from a single motivic germ. Everything in the piece is a developing variation of that germ.
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@lonewick
Right now I’m thinking about:
1. Various layers of dynamic dimension
2. Imitation among those layers
3. Cadence of each layer
4. Cadence of aggregates of layers
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