Videos

Lake Charles Variations (1990), by Wieslaw Rentowski

Lake Charles Variations was commissioned by the Louisiana Music Teachers Association for the State Convention at Lake Charles – LA. Thin metal chains on the strings and a Crotalo tuned to Eb are used alongside traditional playing. Flourishing scales are alternated with static octaves and brilliant passages based on repetition and irregular accented pitches, requiring various articulation techniques.

 

Lake Charles Variations (1990), by Wieslaw Rentowski

Lake Charles Variations was commissioned by the Louisiana Music Teachers Association for the State Convention at Lake Charles – LA. Thin metal chains on the strings and a Crotalo tuned to Eb are used alongside traditional playing. Flourishing scales are alternated with static octaves and brilliant passages based on repetition and irregular accented pitches, requiring various articulation techniques.

Nachklänge (Reverberations),
for piano with added timbres (1967-74), by Ruth Schonthal

Nachklänge is about loss due to war, an influence of Schonthal’s persecution by the Nazi regime. Objects are added on the strings of the piano, createing “the impression of something broken that once was very beautiful, evoking the image of a bombed-out cathedral.” She evokes a Bach coral and German soldier songs, using meter markings which create an organic passage of time.

 

Nachklänge (Reverberations), for piano with added timbres (1967-74), by Ruth Schonthal​

Nachklänge is about loss due to war, an influence of Schonthal’s persecution by the Nazi regime. Objects are added on the strings of the piano, createing “the impression of something broken that once was very beautiful, evoking the image of a bombed-out cathedral.” She evokes a Bach coral and German soldier songs, using meter markings which create an organic passage of time.

Polyvalence I, for piano and interactive electroacoustics (2017),
by Mikel Kuehn

Polyvalence I is an improvisation-based piece in which the performer interacts with and reacts to the computer-generated electroacoustic elements.The score consists of graphs detailing the texture, atmosphere, and pitch content desired. The result is a loop of feedback between the electronics and the performer in a constantly-changing landscape.

 

Polyvalence I, for piano and interactive electroacoustics (2017), by Mikel Kuehn​

Polivalence I is an improvisation-based piece in which the performer interacts with and reacts to the computer-generated electroacoustic elements.The score consists of graphs detailing the texture, atmosphere, and pitch content desired. The result is a loop of feedback between the electronics and the performer in a constantly-changing landscape.

The Perilous Night (1944) for prepared piano, by John Cage

John Cage wrote The Perilous Night during a time of emotional turmoil due to his separation from his wife. It expresses “the dangers of erotic love, the misery of people separating, and the loneliness and terror that comes to one when love becomes unhappy.” Objects inserted between the strings alter the sounds to suit Cage’s expressive purposes.

The Perilous Night (1944) for prepared piano, by John Cage

John Cage wrote The Perilous Night during a time of emotional turmoil due to his separation from his wife. It expresses “the dangers of erotic love, the misery of people separatind, and the lonliness and terror that comes to one when love becomes unhappy.” Objects inserted between the strings alter the sounds to suit Cage’s expressive purposes. 

afloat (2014), by Paulo Guicheney

Afloat  was inspired by Sylvia Plath’s poem Two Views of a Cadaver Room (1960). Plath describes how two Flemish lovers in the lower right-hand corner of Pieter Bruegel’s The Triumph of Death (1562) remain enthralled in each other’s love, completely oblivious to the carnage around them and to the “death-head” playing the vielle behind them.

afloat (2014), by Paulo Guicheney

Afloat was inspired by Sylvia Plath’s poem Two Views of a Cadaver Room (1960). Plath describes how two Flemish lovers in the lower right-hand corner of Pieter Bruegel’s The Triumph of Death (1562) remain enthralled in each other’s love, completely oblivious to the carnage around them and to the “death-head” playing the vielle behind them.

Nostalgic Visions (2009), by Elainie Lillios

Nostalgic Visions was inspired by Federico García-Lorca’s Ballad of the Little Square. In this piece there is a dialogue between reality (played on the keyboard) and memory (inside the  instrument). Sections of improvisation give the performer a chance to partake not only in the music-making but in the compositional process, making the piece fresh and relevant at every performance.

Nostalgic Visions (2009), by Elainie Lillios

Nostalgic Visions was inspired by Federico García-Lorca’s Ballad of the Little Square. In this piece there is a dialogue between reality (played on the keyboard) and memory (inside the  instrument). Sections of improvisation give the performer a chance to partake not only in the music-making but in the compositional process, making the piece fresh and relevant at every performance.

(2008), by Liduino Pitombeira

(dust in English) was based on a geometric structure called Cantor Dust, developed in 1883 by the German mathematician Georg Cantor. A line is divided into three and the middle section is eliminated. This process is repeated indefinitely until the remaining sections become like dust… Pitombeira replicates this in the rhythms and intervals used, as well as in the structure of the phrases. 

(2008), by Liduino Pitombeira

 (dust in English) was based on a geometric structure called Cantor Dust, developed in 1883 by the German mathematician Georg Cantor. A line is divided into three and the middle section is eliminated. This process is repeated indefinitely until the remaining sections become like dust… Pitombeira replicates this in the rhythms and intervals used, as well as in the structure of the phrases.