Stanchinsky x Boiler Room - Nocturne (1907)
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Stanchinsky x Boiler Room - Nocturne (1907)
Staircase at the Cafe de Aubette designed by Theo van Doesburg and Sophie and Hans Arp, photographed in 1928 - Courtesy Musées de Strasbourg.
The cinema and ballroom of the Cafe Aubette designed by Theo van Doesburg, photographed in 1928 - Courtesy Musées de Strasbourg.
Expanded Cube Study
October 2012, Simon Kinch
Line Studies
October 2012, Simon Kinch
Magazine artwork for Eugene Kim’s zum schluss; in der frühe, for CNCPTN05.
October 2012, Simon Kinch
Tree in Sintra, Portugal
November 2012, Simon Kinch
Untitled (2012)
Simon Kinch
Oil on canvas, Sevilla, España
Few people have heard the music of Croatian composer Martin Davorin-Jagodić (for which I just added an entry on Wikipedia), maybe because recording was never a priority for him, as all his work focuses on performances, multimedia installations and graphic scores – his are among the most intricate and elaborated graphic scores ever produced, thanks to their combination of drawing, diagrams, collage, aleatoricism, transparencies and détournement, sometimes all at once.
El Mar a classical mix by Simon Kinch (TAPERS)
00:29 | Karl Fousek | Grid Music [disquiet0019-rojiura] 02:14 | Nikolai Roslavets | Andante affettuoso - Con moto - Lentoso 03:30 | Phil Brownlee | Domestic Recordings - Piano and Kitchen 06:44 | Francis Dhomont | Un autre printemps 08:50 | Luigi Turra | Aura 11:50 | Kelly Moran | through a lens of unvarying focus 13:34 | Claude Debussy | Prélude à l'après-midi d'un faune (two pianos) 15:15 | Dmitri Shostakovich | Symphony No.5 - Largo 19:37 | TAPERS | fête populaire de la semaine grasse + further interludes of Prélude à l'après-midi d'un faune
Lux Aeterna, György Ligeti
Untitled (2013)
Simon Kinch
Oil on canvas, London, United Kingdom
Existential figure (2013)
Simon Kinch
Simon Kinch - 2494.8cm²
I used to be a composer.
I don’t what happened, but something changed. I must have become more consumed by other things. Then days must have passed without thinking about music, then weeks. And maybe the less I thought of what to compose, the less important it became. Then it struck me - what must have been a year or more after I had last composed anything - that I could no longer call myself a composer. Not because I hadn’t written anything recently, but because I’d been more than happy not writing anything. So now I say ‘I used to be a composer.’
Isao Tomita - Snow Flakes Are Dancing (Debussy)