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clarinet, flutes, violin, cello, tam-tam and fixed media.

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Premiere of Continuum (2017) at the Wintersound Festival, Sidney Cooper Gallery, Canterbury. 
Instrumentation: clarinet, flutes, violin, cello, tam-tam and fixed media.
Performers: Alison Holford (cello), Tom Jackson (clarinet), Heledd Wright (flutes) and James Widden (violin).
Many thanks to Canterbury Christ Church University's School of Music and Performing Arts and Centre for Practice Based Research in the Arts for funding this project.

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Debussy - Deux Arabesques (Harpe) - Héloïse de Jenlis

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Harp playlist - I will add to this...

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Interview with Kaitlyn Aurelia Smith about Orchestration, folk music and modular synths!

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Interview with Kaitlyn Aurelia Smith about Orchestration, folk music and modular synths!

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Kaitlyn Aurelia Smith makes amazing music with modular synths and instruments.

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Kaitlyn Aurelia Smith makes amazing music with modular synths and instruments.

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Kaitlyn Aurelia Smith - Ears (Full Album)

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The Voice of the Natural World

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Bernie Krause: The voice of the natural world

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Bernie Krause has been recording wild soundscapes -- the wind in the trees, the chirping of birds, the subtle sounds of insect larvae -- for 45 years. In that time, he has seen many environments radically altered by humans, sometimes even by practices thought to be environmentally safe.

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Featuring Electroacoustic works that use Piano and also works that use field recordings!! YAY

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BBC Sounds - Hear and Now - Sharon Gal, Lee Patterson, Kate Carr

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Catch up on your favourite BBC radio show from your favourite DJ right here, whenever you like. Listen without limits with BBC Sounds.

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Seminal work featuring inside the piano stuff from Henry Cowell

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Seminal work featuring inside the piano stuff from Henry Cowell

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Henry Cowell - "The Banshee" for piano strings (ALLHALLOWTIDE TRIBUTE)

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Piece by a ridiculously talented composer Juri Seo...

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This is a super interesting piece in terms of the piano notation. He uses some interesting pedalling techniques - things you might want to explore in your own compositions...?!

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Helmut Lachenmann - Ein Kinderspiel (VIDEO REQUEST)

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This is a seminal piece of European modernist composition. Here is a score, which has the performance directions in too...
https://www.dropbox.com/s/aiv367z24aznxbw/Lachenmann%2C%20Helmut%20-%20Guero%20%5B1970%5D.pdf?dl=0

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Helmut Lachenmann, Guero (for piano), 1969, with score

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pt. 2

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The Noisiest Guys on the Planet, Pt. 2 by jana winderen

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pt. 1

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The Noisiest Guys on the Planet, Pt. 1 by jana winderen

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Daniel Blinkhorn - Anthozoa (2011) by NFSA

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This work was composed in the Studio Alpha, Visby International Centre for Composers, Sweden and the composer’s home studio in Sydney, Australia. This is a stereo down-mix of a 5.1 (surround sound) composition. 

NFSA Title No: 1274802
Image: 'Anthozoa', cover artwork. NFSA Title No. 1274805

From the artist:
"Looking across the water, sounds can seem to mimic the visual sense of panorama; wind and wave sounds, sea spray and splashing. Underneath the waves however there is a very different portrait. The crisp, delicate clicks, pops, and snaps produced from coral reefs present a soundscape far more intimate and dexterous as the many marine animals bustle and fossick amidst the reef. 

Structurally, the composition depicts the many and varied shapes of coral reefs, from their jagged yet intricately textured features, to the dramatic variegations of size, depth and density. The sound shapes created in the piece are designed to describe my impressions of coral reefs. There are only two sound sources within the composition, that of a prepared piano (more specifically a single D note) and a composite recording of coral. The composite coral recording is comprised of two field recordings; one was captured in the Great Barrier Reef in Australia, and the other is from a coral reef off the coast of Barbados in the West Indies.

I have used the prepared piano note as a central pitch axis for the work, providing a metaphor for the clear, unbroken line of an ocean horizon, whilst the remaining material consists almost entirely from the (largely unprocessed) composite coral recording that can be heard beginning from 1:25 in the piece. 
(*special thanks to EcoSono for making the Barbados field recordings possible)."

http://www.danielblinkhorn.com

About Lateral Listening: Curated by Tessa Elieff for the NFSA, each episode presents an Australian artist for your auditory delight. Primary focus for this series is genres associated with/including sound art and experimental musics, with the intent to bring to light the extraordinary caliber of Australian artists who work within these realms.

Enjoy,

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Ben Frost: Theory of Machines. I saw him live once. Drone/spectral/electronic

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Ben Frost: Theory of Machines. I saw him live once. Drone/spectral/electronic

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...but here it is. ben

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“Sounds can acquire evocative, almost magical qualities if they are

de-contextualized by being removed from their causal

origins.” (John Dack)

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Pierre Schaeffer -- Études de bruits (1948)

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It's in 7/8 grouped as 11 tuplets, then switches to 11/8 grouped as 7 tuplets.
http://general-theory-of-rhythm.org/65/

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Malcolm Braff Trio & Aurélie Emery - Crimson Waves

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Been listening to this a lot recently. I find it useful to hear just what is physically possible to play on the piano!

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Info about the piece here

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Luc Ferrari - Petite symphonie intuitive pour un paysage de printemps

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Vocals and Speech Patterns: Trevor Wishart

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Vocals and Speech Patterns: Trevor Wishart

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This is the piece I ran out of time to play you, which draws on samples from talk Amercian shows...!

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Jacob ter Veldhuis - Off & On Situation Blues

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This is on my playlist at the moment...

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Punch Brothers - "It's All Part of the Plan"

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Jelly Roll Morton The Finger Breaker  by Dick Hyman