#modern composition

[theinterpretingbookworm]

what are you watching/reading/listening to right now? ᥫ᭡

Listening to: Dancing with Ghosts by Hania Rani

[toyastales]

Marvelous design

[radiophd]

ingram marshall -- gradual requiem - part 1

[dustedmagazine]

Robert Humber — Into Air (Redshift)

Canadian composer Robert Humber is prolific, releasing two albums in 2025. Into Air, his first offering for 2026, is an ambitious collection of pieces written from 2020-2022 for overdubbed solo instruments. Humber’s work involves repetition as a grounding principle, with a fascination for playing with texture serving as a refreshing element.

The title track is played by violinist Adrian Levine. Cast in three movements, it features overlapping ostinatos that first undulate, then gallop through a triadic harmonic palette. In the middle of the piece, there is a fetching passage for hocketing glissandos that softens its edges. The presence of reverb, here as elsewhere, gives the acoustic instruments an outsized character, as if projecting into a large space, instead of the small studio in Toronto in which Into Air was recorded.

Classical guitarist Ben Diamond plays the three parts in mothmouth, which begins with coruscating harmonics that create a polyrhythmic underpinning for a loping melody. Gradually, the harmonics are replaced with interlaced quicksilver lines, occasionally interrupted by taps on the guitar body. There is a buildup to animated tremolando passages and heartily strummed sonorities which is succeeded by slow arpeggiations and another round of harmonics. Supple lines wend their way into the foreground, ricocheting between the overdubbed instruments. The final section plays with the percussion of string and body noise. A tightly woven melodic thread that is accompanied by tapped chords moves through a quick fugal section, only to stop short and return to the harmonics of the work’s outset.

Repeated notes shimmer from six grand pianos on Murmuration, played by Stephen Eckert. As the piece builds, these accelerate and are joined by quick arpeggios, thrumming octaves and thick chords, saturating the soundspace in richly textured music. Using six pianos could easily lead to too much of a good thing, swamping the proceedings, but Humber’s deft writing never tips over into excess.

The cellos in Singing in Circles, played by Heather Tuach, grow from tentative single notes to multi-string verticals and boisterous scalar passages, with crescendos and decrescendos delineating a fluid framework. A long-range buildup ends in the noise imparted by extreme bow pressure, which is then countered by a soft, lyrical melodic passage that slowly leads to a layered finale, concluding with resounding major chords, followed by a brief denouement.

Each of these pieces requires commanding technical skill and is performed with precision. If musicians were assembled to play them live, it would be quite a thing to hear.

Christian Carey

[bluetapes]

Head over to our Soundcloud to check out the latest Blue Tapes radio show, featuring aural excitement and adventure from Kamra, Lara Jones, Blue Tapes legends Ashtray Navigations and new Blue Tapes noise from Pedro Oliveira and Morgan Sully.

[thenewobjective]

Fall Music Preview ~ Modern Composition

From the intimacy of solo piano to the fullness of orchestra, our modern composition category offers sounds suited for falling leaves, even if at the time of writing they remain green.  Autumn slowly descends from north to south, bringing new clusters of moods and timbres.  The character of light changes from an inescapable summer sun to angles and filtered light. Personal reflection begins to…

Fall Music Preview ~ Modern Composition

[tromroan]

Medusa-themed-Poster I designed for my next opera, a collaborative effort this time with a librettist and friend of mine! Monsters Made. A re-telling of 10 classic Greek mythological tales, but this time from the feminine point of view...

[sweetdreamsjeff]

John Zorn's "COBRA" live at The Knitting Factory

Cobra was recorded at the Knitting Factory, NYC, throughout 1992. John Zorn acted as conducter for the monthly impromptu jams, which were recorded and are dated according to month.

Jeff Buckley participated in April's recordings. Buckley contributed voice (tenor) to track 4, "Taipan," and track 5, "D. Popylepis."

@crudecube

2 years ago (edited)

Setlist for anyone trying to find a particular artist from the Knit.

0:00 - "Hemachatus Haemachatus" (Track 1)

2:12 - "Naja Naja Atra" (Track 2)

5:52 - "Many-Banded Krait" (Track 3)

16:19 - "Taipan" (Track 4)

17:49 - "D. Popylepis" (Track 5)

18:29 - "Lampropeltis Doliata Syspila" (Track 6)

21:01 - "Boomslang" (Track 7)

32:08 - "Maticora Intestinalis" (Track 8)

38:21 - "Acanthopis Antarcticus" (Track 9)

42:21 - "Hydrophiidae" (Track 10) > (Abrupt cutoff @ 44:51) ================[CUTOFF]=================

I may have got some wrong since they're so difficult to distinguish, with the ambient noise and faded transitions and all. If my approximations are correct, that leaves 4 tracks missing, which would get it to about an hour in length.

How do you play John Zorn's COBRA

The BBC documentary series On the Edge: Improvisation in Music (1992) includes a short segment of Zorn explaining and conducting two versions of Cobra.[8] His goal with Cobra, Zorn said, was to "harness" the creative developments in improvisation and extended techniques by New York City's downtown scene musicians in a semi-structured way, but "without hindering" their performances; he was interested in telling the musicians when to play, and with whom, but without telling them what to play. Plus-Minus (1963, 1974) by German composer Karlheinz Stockhausen was a key inspiration for Zorn, inspiring him to develop methods play with or against each other and in response to his cues but without dictating specific notes, sounds, or other formal structures. Though Cobra can be performed by any number of musicians plus a prompter who handles the cards, Zorn has stated that at least ten musicians are ideal, with care taken in selecting the musicians based on their improvisational skills and personalities.[7]

Release Date 1992

Duration 01:00:50

Recording Date 1992

Recording Location Knitting Factory

Jeff Buckley Guest Artist, Tenor (Vocal)

ALL MUSIC REVIEW

Live at the Knitting Factory Review by Scott Yanow

Calling this set of performances bizarre would be an understatement. John Zorn inspired (through obscure game playing that is not explained anywhere on this CD) these 14 eccentric "tributes" to different types of cobras. Because many of the performances utilize samplers and voices (in addition to conventional instruments and miscellaneous devices), the wide range of sounds attained from the 87 musicians (heard in different combinations) is impressive, if often quite unlistenable, ranging from humorous interludes to very obnoxious noise. For a few examples, "Cobra 4" has a man screaming over and over again, "Cobra 2" features a sound collage with a male opera singer repeating the same four notes continuously, and "Cobra 5" has, among its many vocal noises, a man imitating a dog barking. There are some colorful segments, but in general, these self-indulgent performances would be much more interesting to see in person than to hear on record. Taken purely as a listening experience, one is surprised that this material has even been released.

JOHN ZORN'S COBRA LIVE AT THE KNITTING FACTORY

Knitting Factory Works release date: 1995

CD#: KFW 124

Cobra was recorded at the Knitting Factory, NYC, throughout 1992. John Zorn acted as conducter for the monthly impromptu jams, which were recorded and are dated according to month. Jeff Buckley participated in April's recordings. Buckley contributed voice (tenor) to track 4, "Taipan," and track 5, "D. Popylepis." Credits for both track 4 & track 5: Jeff Buckley (voice, tenor) M. Doughty (voice, tenor) Judy Dunaway (voice, mezzo-soprano) Mark Ettinger (voice, tenor) Gisburg (voice, soprano) Cassie Hoffman (voice, soprano) Nina Mankin (voice, mezzo-soprano) Chris Nelson (voice, baritone) Juliet Palmer (voice, alto) Wilbur Pauley (voice, bass) Rick Porterfield (voice, baritone) Eric Qin (voice, baritone)