French composer Emmanuel Séjourné is fascinated by the relations between music and other performing arts. His music is rhythmic, romantic, energetic, inspired both by the Western classical tradition and by popular culture (jazz, rock, extra-European). His compositions are played throughout the world by soloists, ensembles and orchestra, including the Nagoya Philharmonic, Osaka Philharmonic, Sinfonia Toronto, Croatian Radio Television Symphony, Luxembourg Philharmonic, Lausanne Chamber Orchestra, Orchestre de la Suisse Italienne, Camerata de Bourgogne, Orchestre d’Auvergne, and the Wurttembergisches Kammerorchester, among others. Séjourné's Akadinda Trio (1992) was inspired by the percussive mallet music of Uganda. Each player uses 2 mallets, and all three players play on one 5-octave marimba. Numerous melo-rhythmic lines interlock to form an interesting polyrhythmic (3:2, etc.) groove. No one part is particularly difficult, yet concentration is required so as to realize the interlocking rhythmic patterns. Watch a performance of Emmanuel Séjourné Akadinda Trio (1992) played by percussionists Corey Hewitt, Paul Hutson and David Tart . . . it's one of our NEW MUSIC VIDEOS for the week.
Anna Weesner's music has been performed by leading ensembles, including the American Composers Orchestra, Metamorphosen, the Indianapolis Symphony, and the orchestra of the Curtis Institute. Other important performances includes those by Dawn Upshaw and Richard Good, the Cassatt Quartet, the Cypress Quartet, the MATA festival, Network for New Music, Veronica Kadlubkiewicz, Matt Bengtson, Ensemble X, Counte induction, the Syracuse Society for New Music and Orchestra 2001. She has been commissioned by numerous performers and presenters, including Open End, the Newburyport Chamber Music Festival, violist Melia Watras, Sequitur, and Orchestra 2001. The contemporary music organization Network for New Music, to celebrate their 25th Anniversary, asked 25 composers to write new variations on the theme Beethoven used in his Diabelli Variations. Each variation was to be under two minutes, and for any combination of a small choice of instruments. All of the pieces were performed at the Settlement Music School (Philadelphia) on a concert in May 2010. Listen to Anna Weesner talk about her contribution to Network for New Music's 25th Anniversary celebration . . . it's this week COMPOSER PORTRAIT.
In 1980, composer Chen Yi attended a performance of Duo Ye while she was collecting folk songs of the Dong minority in southwest China. This emotionally charged experience prompted her to write a piano piece using the same title and utilizing similar musical characteristics. Duo Ye is a traditional folk song and dance form of the Guangxi Province in China. It is often performed to celebrate the joy of a harvest or the arrival of an important guest. In it the lead singer improvises a melody while others dance in a circle with a bonfire set in the middle. Listen to a performance of Chen Yi's Duo Ye (1984) played by pianist Amy Lin . . . it's one of our PYTHEAS EARFULS for the week.
. . . and check out Dialogos (2008), an animated Film by Ulo Pikkov with music by Mirjam Tally . . . it's this week's FROM THE PYTHEAS ARCHIVES.
Showing posts with label Tally. Mirjam. Show all posts
Showing posts with label Tally. Mirjam. Show all posts
Monday, October 22, 2012
Monday, September 19, 2011
Karen Tanaka is acclaimed as one of the leading living composers from Japan. She has been invited as a composer in residence at many important festivals, and her music, for both instrumental and electronics media, has been widely performed throughout the world by major orchestras and ensembles. As described in The New Grove Dictionary of Music and Musicians, Tanaka's "music is delicate and emotive, beautifully crafted, showing a refined ear for both detail and large organic shapes." Her three movement harpsichord piece Jardin des Herbes (1989) is representative of her writing style: well crafted with attention to detail and attention to the transformation of timbres similar to the effect of light refracting through crystals and prisms. The second movement, entitled Sweet Violet: Early Spring Flowers with Seductive Scent is set in a freely ternary structure providing an attractive melody accompanied by consonant, yet not quite tonal harmonies. Watch a performance of Karen Tanaka's Sweet Violet by harpsichordist Antonio Oyarzabal . . . one of this week's FEATURED NEW MUSIC VIDEOS.
Blow (2007) is an experimental film made with an 8mm camera, using the music of Estonian composer Mirjam Tally. It follows the different rhythms of urban society. Old abandoned greenhouses from the Soviet Era and quick changes to modern Tallinn, the capital city of Estonia, are used to show how a country transforms from post-socialism to capitalism. Estonian film maker Ülo Pikkov graduated from the Turku Arts Academy in Finland in 1998 and from the Institute of Law at University of Tartu in Estonia in 2005. He has published numerous caricatures, comics and illustrations, as well as written and illustrated books for children. At the moment he works as an Associate Professor in Animation at the Estonian Academy of Arts. Watch Ülo Pikkov's film Blow (2007) . . . it's our PYTHEAS SIGHTING for the week.
Oleg Ledeniov (MusicWeb International), in reviewing the CD Montage Music Society - Starry Night Project writes, "The work that ends the disc - or, I better say, crowns it - is Andrew List's Noa Noa: A Gauguin Tableau for violin, clarinet and piano. The three eternal questions of Gauguin's picture - 'Where do we come from?', 'What are we?', 'Where are we going?' - are interpreted by the composer 'as representing three facets of human consciousness.' I hope the Mahlerites won't kill me if I describe the parts as 'What the body tells me' (aggressive, determined, forceful - our Past), 'What the mind tells me' (ever-changing, fluent, searching - our Present), and 'What the soul tells me' (spiritual, peaceful, and blissfully beautiful - hopefully, our Future). This last movement is sublime. It also serves as an answer to the unsettling questions of the first track, the Starry Night by Gauguin's friend van Gogh. If you know these moments, when the music ends and you stay in silent awe and then exhale 'Aaah!...' - you'll know this is one of them." Listen to the first movement of Andrew List's Noa Noa, A Gauguin Tableau (2008) performed by members of Montage Music Society . . . it's one of our PYTHEAS EARFULS for the week.
Claude Debussy's Sonata for Flute, Viola and Harp (1915) is at once evocative and emotionally ambiguous, a languid oasis from the harmonically adventuresome Cello Sonata (1915) and Violin Sonata (1917) which were written by Debussy in the final years of his life. He once remarked that he didn't know whether it "should move us to laughter or to tears. Perhaps both?" The sonata is in three free flowing movements: Pastorale, Interlude - Tempo di minuetto, and Allegro moderato ma risoluto. Listening to such an abstract, non-representational movements, it is easy to understand why Debussy was moved on one occasion to refer to anyone who described such music as "impressionistic" as an "imbecile" [from the All Music Guide]. Watch a performance of Debussy's gorgeous Sonata for Flute, Viola and Harp played by members of The New York Harp Trio . . . this week's FROM THE PYTHEAS ARCHIVES.
Blow (2007) is an experimental film made with an 8mm camera, using the music of Estonian composer Mirjam Tally. It follows the different rhythms of urban society. Old abandoned greenhouses from the Soviet Era and quick changes to modern Tallinn, the capital city of Estonia, are used to show how a country transforms from post-socialism to capitalism. Estonian film maker Ülo Pikkov graduated from the Turku Arts Academy in Finland in 1998 and from the Institute of Law at University of Tartu in Estonia in 2005. He has published numerous caricatures, comics and illustrations, as well as written and illustrated books for children. At the moment he works as an Associate Professor in Animation at the Estonian Academy of Arts. Watch Ülo Pikkov's film Blow (2007) . . . it's our PYTHEAS SIGHTING for the week.
Oleg Ledeniov (MusicWeb International), in reviewing the CD Montage Music Society - Starry Night Project writes, "The work that ends the disc - or, I better say, crowns it - is Andrew List's Noa Noa: A Gauguin Tableau for violin, clarinet and piano. The three eternal questions of Gauguin's picture - 'Where do we come from?', 'What are we?', 'Where are we going?' - are interpreted by the composer 'as representing three facets of human consciousness.' I hope the Mahlerites won't kill me if I describe the parts as 'What the body tells me' (aggressive, determined, forceful - our Past), 'What the mind tells me' (ever-changing, fluent, searching - our Present), and 'What the soul tells me' (spiritual, peaceful, and blissfully beautiful - hopefully, our Future). This last movement is sublime. It also serves as an answer to the unsettling questions of the first track, the Starry Night by Gauguin's friend van Gogh. If you know these moments, when the music ends and you stay in silent awe and then exhale 'Aaah!...' - you'll know this is one of them." Listen to the first movement of Andrew List's Noa Noa, A Gauguin Tableau (2008) performed by members of Montage Music Society . . . it's one of our PYTHEAS EARFULS for the week.
Claude Debussy's Sonata for Flute, Viola and Harp (1915) is at once evocative and emotionally ambiguous, a languid oasis from the harmonically adventuresome Cello Sonata (1915) and Violin Sonata (1917) which were written by Debussy in the final years of his life. He once remarked that he didn't know whether it "should move us to laughter or to tears. Perhaps both?" The sonata is in three free flowing movements: Pastorale, Interlude - Tempo di minuetto, and Allegro moderato ma risoluto. Listening to such an abstract, non-representational movements, it is easy to understand why Debussy was moved on one occasion to refer to anyone who described such music as "impressionistic" as an "imbecile" [from the All Music Guide]. Watch a performance of Debussy's gorgeous Sonata for Flute, Viola and Harp played by members of The New York Harp Trio . . . this week's FROM THE PYTHEAS ARCHIVES.
Monday, May 16, 2011
Composer David Felder has long been recognized as a leader in his generation of American composers. His works have been featured at many of the leading international new music festivals, and earn continuing recognition through performance and commissioning programs. Felder’s work has been broadly characterized by its highly energetic profile, through its frequent employment of technological extension and elaboration of musical materials (including his Crossfire video series), and its lyrical qualities. Felder has received numerous grants and commissions including many awards from the National Endowment for the Arts, two New York State Council commissions, a New York Foundation for the Arts Fellowship, Guggenheim, two Koussevitzky commissions, two Fromm Foundation Fellowships, two awards from the Rockefeller Foundation, Meet the Composer "New Residencies" (1993-1996), and many more. In May 2010, he received the Music Award from the American Academy of Arts and Letters, a career recognition award. Watch a performance of David Felder's Inner Sky (1994) with flute soloist Mario Caroli . . . one of this week's FEATURED NEW MUSIC VIDEOS.
Judd Greenstein has attracted attention through his close collaboration with many of the best young solo musicians in New York and beyond, including violist Nadia Sirota, soprano Anne-Carolyn Bird, percussionist Samuel Solomon, violinist Colin Jacobsen, pianists Michael Mizrahi and Blair McMillan, and flutist Alex Sopp. He has also received performances by and commissions from a wide array of ensembles around the country, including Present Music, the Seattle Chamber Players, as well as many prominent ensembles in New York, including Carnegie Hall, the Kaufman Center, Newspeak, the Da Capo Chamber Players, the New Millennium Ensemble. Central to his output is his work for NOW Ensemble, the composer/performer collective that has quickly established itself as one of the most prominent and promising sounds in 21st century chamber music. Butterfly Dream (2010) is a dance collaboration between Greenstein and choreographer Xiao-xiong Zhang. Based on a story by Chinese philosopher Zhuangzi, the story deals with a man who dreams he is a butterfly and then upon waking questions the nature of existence; it explores the ideas of self-invention and re-creation. Watch an excerpt from Butterfly Dream performed by Nimbus Dance Works . . . it's our DANSES PYTHEUSES for the week.
I recently attended a performance of Andrew List's new work From The Temple of Dendera: 12 Etudes for Piano, featuring the work's dedicatee, pianist George Lopez. It was a wonderful experience - gorgeous music presented by a consummate artist in the beautiful Studzinski Recital Hall on the campus of Bowdoin College in Brunswick, Maine. The work is a fascinating and evocative exploration of Egyptian mythology through the sumptuous sound world of Andrew List. Read what the composer has to say about his new piano work . . . it's this week's PYTHEAS THOUGHT & IDEA.
Creative expression has always been a matter of course for Estonian composer Mirjam Tally. She has tried almost every medium, from writing to painting – even radio. But the one she eventually plumped for was also the one she finds the most difficult: composing music. Explore Tally's sound world through her gorgeous choral work Call Love to Mind (2009) . . . this week's FROM THE PYTHEAS ARCHIVES.
... and find out more about Mirjam Tally, her life and her music, at her Pytheas Composer Page.
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music
Judd Greenstein has attracted attention through his close collaboration with many of the best young solo musicians in New York and beyond, including violist Nadia Sirota, soprano Anne-Carolyn Bird, percussionist Samuel Solomon, violinist Colin Jacobsen, pianists Michael Mizrahi and Blair McMillan, and flutist Alex Sopp. He has also received performances by and commissions from a wide array of ensembles around the country, including Present Music, the Seattle Chamber Players, as well as many prominent ensembles in New York, including Carnegie Hall, the Kaufman Center, Newspeak, the Da Capo Chamber Players, the New Millennium Ensemble. Central to his output is his work for NOW Ensemble, the composer/performer collective that has quickly established itself as one of the most prominent and promising sounds in 21st century chamber music. Butterfly Dream (2010) is a dance collaboration between Greenstein and choreographer Xiao-xiong Zhang. Based on a story by Chinese philosopher Zhuangzi, the story deals with a man who dreams he is a butterfly and then upon waking questions the nature of existence; it explores the ideas of self-invention and re-creation. Watch an excerpt from Butterfly Dream performed by Nimbus Dance Works . . . it's our DANSES PYTHEUSES for the week.
I recently attended a performance of Andrew List's new work From The Temple of Dendera: 12 Etudes for Piano, featuring the work's dedicatee, pianist George Lopez. It was a wonderful experience - gorgeous music presented by a consummate artist in the beautiful Studzinski Recital Hall on the campus of Bowdoin College in Brunswick, Maine. The work is a fascinating and evocative exploration of Egyptian mythology through the sumptuous sound world of Andrew List. Read what the composer has to say about his new piano work . . . it's this week's PYTHEAS THOUGHT & IDEA.
Creative expression has always been a matter of course for Estonian composer Mirjam Tally. She has tried almost every medium, from writing to painting – even radio. But the one she eventually plumped for was also the one she finds the most difficult: composing music. Explore Tally's sound world through her gorgeous choral work Call Love to Mind (2009) . . . this week's FROM THE PYTHEAS ARCHIVES.
... and find out more about Mirjam Tally, her life and her music, at her Pytheas Composer Page.
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music
Monday, September 20, 2010
According to David Weininger (Boston Globe), composer "David Rakowski is a laid-back, slightly geeky, funny guy who writes some very difficult music. Or, as Rakowski puts it on his home page, music that has "lots and lotsa notes." Rakowski never planned to add so many works to such an artistically suspect genre. He wrote the first étude, E-Machines, in 1988, more or less on a challenge from his then-roommate. "That turned out to be a fun piece and people actually liked it even though I thought it was worthless at the time. Well, I don’t know about worthless but certainly useless." Soon other pianists began asking for more; so did the publisher C.F. Peters. "And I would just write them as technique builders in between pieces or when I was stuck on a big piece I would write a little étude and then come back to the big piece refreshed. It usually kind of worked." Each étude must be written from start to finish without revision, and must take a maximum of six days to finish. And he plans to quit when he reaches 100. "I like the idea of putting closure on a project so that I can say that’s done. And seriously, it seems silly to be playing an Étude No. 101. Sounds more like a highway than an étude." His growing catalog of Études for piano has inspired performances and recordings by leading pianists on both sides of the Atlantic. Watch a performance of Rakowski's Étude No. 76, " Clave" (2007) by pianist Geoffrey Burleson . . . one of this week's FEATURED NEW MUSIC VIDEOS.
Sound is central in Mirjam Tally’s creations. Her music brims with playful contrasts – humorous, dramatic and poetic mixes of sound. She has written chamber and electronic music in which acoustic and electronic sounds often interweave, sometimes using Nordic or exotic instruments (Estonian kannel, didgeridoo, tanpura, accordion and others), treating sound material with a modernist open mind. According to Tally, "Work with electronics has considerably widened my imagination of sound. To me, color is really important in music. Lately I have discovered the recording of environmental sounds. This is a bit similar to photography – you just need to be at the right place at the right time to get a fascinating sound on tape, be it, for example, yacht masts swaying in the wind, clinks of ice floes on the coast or wind generators, not to mention the sounds of birds and nature in general. The further result (i.e. the composition) depends on if you have good ingredients; you don’t need to process and "bend" it in the studio at all. The main thing is to collect valuable sound material from the living environment." Watch Tally's collaboration with filmmaker Ülo Pikkov, their short film Tablemat of Baltic Sea (2006) . . . it's our current PYTHEAS SIGHTING.
Zoltán Kodály’s contributions to the musical life of Hungary in the 20th century were immense, and indeed, have gone far beyond mere nationalism. His orchestral compositions enjoy a place in the standard repertory. His researches into his country’s folk music have been models for ethno-musicologists. The program for folk music research drafted by him and Bela Bartok in 1913 resulted in the collection, classification and editing of over 100,000 folk songs. He also made significant contributions in the fields of music history, music criticism, history of literature, linguistics and language education. His teaching methods also went far beyond the borders of his native land with the worldwide use of the Kodály Method for teaching music in schools, the idea being general music literacy. Kodály was a vocal oriented composer; melody and lyricism were of prime importance to him. And at the core of his work is folk music. Hear Kodály talk about his ideas on music education in a rare video from Hungarian Television . . . our COMPOSER PORTRAIT this week.
Musique concrète ("concrete music" or "real music") is a form of electroacoustic music that utilizes acousmatic sound — sound one hears without seeing or knowing an originating cause — as a compositional resource. French composer Pierre Schaeffer is singularly responsible for launching the Musique concrète movement in the late 1940s and with it, the course of much of the experimental music of the 20th Century. From Wikipedia: "The importance of Schaeffer's musique concrète is threefold. He developed the concept of including any and all sounds into the vocabulary of music. At first he concentrated on working with sounds other than those produced by traditional musical instruments. Later on, he found it was possible to remove the familiarity of musical instrument sounds and abstract them further by techniques such as removing the attack of the recorded sound. He was among the first musicians to manipulate recorded sound for the purpose of using it in conjunction with other sounds in order to compose a musical piece. Techniques such as tape looping and tape splicing were used in his research, often comparing to sound collage. The advent of Schaeffer's manipulation of recorded sound became possible only with technologies that were developed after World War II had ended in Europe. His work is recognized today as an essential precursor to contemporary sampling practices. Schaeffer was among the first to use recording technology in a creative and specifically musical way, harnessing the power of electronic and experimental instruments in a manner similar to Luigi Russolo, whom he admired and from whose work he drew inspiration." Etude Noire/Black Study (1948) is an early piece of musique concrete by Schaffer . . . and this week's FROM THE PYTHEAS ARCHIVES.
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music
Sound is central in Mirjam Tally’s creations. Her music brims with playful contrasts – humorous, dramatic and poetic mixes of sound. She has written chamber and electronic music in which acoustic and electronic sounds often interweave, sometimes using Nordic or exotic instruments (Estonian kannel, didgeridoo, tanpura, accordion and others), treating sound material with a modernist open mind. According to Tally, "Work with electronics has considerably widened my imagination of sound. To me, color is really important in music. Lately I have discovered the recording of environmental sounds. This is a bit similar to photography – you just need to be at the right place at the right time to get a fascinating sound on tape, be it, for example, yacht masts swaying in the wind, clinks of ice floes on the coast or wind generators, not to mention the sounds of birds and nature in general. The further result (i.e. the composition) depends on if you have good ingredients; you don’t need to process and "bend" it in the studio at all. The main thing is to collect valuable sound material from the living environment." Watch Tally's collaboration with filmmaker Ülo Pikkov, their short film Tablemat of Baltic Sea (2006) . . . it's our current PYTHEAS SIGHTING.
Zoltán Kodály’s contributions to the musical life of Hungary in the 20th century were immense, and indeed, have gone far beyond mere nationalism. His orchestral compositions enjoy a place in the standard repertory. His researches into his country’s folk music have been models for ethno-musicologists. The program for folk music research drafted by him and Bela Bartok in 1913 resulted in the collection, classification and editing of over 100,000 folk songs. He also made significant contributions in the fields of music history, music criticism, history of literature, linguistics and language education. His teaching methods also went far beyond the borders of his native land with the worldwide use of the Kodály Method for teaching music in schools, the idea being general music literacy. Kodály was a vocal oriented composer; melody and lyricism were of prime importance to him. And at the core of his work is folk music. Hear Kodály talk about his ideas on music education in a rare video from Hungarian Television . . . our COMPOSER PORTRAIT this week.
Musique concrète ("concrete music" or "real music") is a form of electroacoustic music that utilizes acousmatic sound — sound one hears without seeing or knowing an originating cause — as a compositional resource. French composer Pierre Schaeffer is singularly responsible for launching the Musique concrète movement in the late 1940s and with it, the course of much of the experimental music of the 20th Century. From Wikipedia: "The importance of Schaeffer's musique concrète is threefold. He developed the concept of including any and all sounds into the vocabulary of music. At first he concentrated on working with sounds other than those produced by traditional musical instruments. Later on, he found it was possible to remove the familiarity of musical instrument sounds and abstract them further by techniques such as removing the attack of the recorded sound. He was among the first musicians to manipulate recorded sound for the purpose of using it in conjunction with other sounds in order to compose a musical piece. Techniques such as tape looping and tape splicing were used in his research, often comparing to sound collage. The advent of Schaeffer's manipulation of recorded sound became possible only with technologies that were developed after World War II had ended in Europe. His work is recognized today as an essential precursor to contemporary sampling practices. Schaeffer was among the first to use recording technology in a creative and specifically musical way, harnessing the power of electronic and experimental instruments in a manner similar to Luigi Russolo, whom he admired and from whose work he drew inspiration." Etude Noire/Black Study (1948) is an early piece of musique concrete by Schaffer . . . and this week's FROM THE PYTHEAS ARCHIVES.
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music
Wednesday, August 5, 2009
Richard Danielpour has become one of the most sought-after composers of his generation – a composer whose distinctive American voice is part of a rich neo-Romantic heritage with influences from pivotal composers like Britten, Copland, Bernstein, and Barber. Danielpour has commented that "music [must] have an immediate visceral impact and elicit a visceral response." Check out his Souvenirs (2008) for orchestra ... this week's FEATURED NEW MUSIC VIDEO.
According to Ned Raggett (All Music Guide), "Mirjam Tally's self-titled debut CD, collecting pieces composed over the previous seven years, reflects both a striking confidence in the 27-year-old's compositional abilities and an attractively broad range of influences ..." Have a look at it - it's our PYTHEAS FEATURED RECORDING.
In 1930 Berthold Bartosch moved to Paris and created the 30 minute film entitled L'Idea/The Idea. It is described as the first serious, poetic, tragic work in animation. The film's characters and backdrops were composed of several layers of different types of paper from semi- transparent to thick cardboard. Special effects like halos, smoke and fog were made with lather spread on glass plates and lit from behind. The film was based on a book of woodcuts from Frans Masereel and the animated film featured a score by composer Arthur Honegger, who employed the Ondes Martenot in his score, the very first use of an electronic instrument in film history ... see and hear it - it's our current PYTHEAS SIGHTING.
"For sheer visceral effect, nothing matched Chen Yi's Spring Dreams. The idea of 'petals falling' was conveyed through rhythmic whispers and chatters, birds by pulsating whistles. In the midst of this cumulative din the sound of voices actually singing came as a jolt. Chen has the ability to create a minor sensation with the simplest of means." - Paul Horsely, The Kansas City Star. See a perfomance of Chen Yi's Spring Dreams (1997) by Chanticleer at this week's FROM THE PYTHEAS ARCHIVES.
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music
According to Ned Raggett (All Music Guide), "Mirjam Tally's self-titled debut CD, collecting pieces composed over the previous seven years, reflects both a striking confidence in the 27-year-old's compositional abilities and an attractively broad range of influences ..." Have a look at it - it's our PYTHEAS FEATURED RECORDING.
In 1930 Berthold Bartosch moved to Paris and created the 30 minute film entitled L'Idea/The Idea. It is described as the first serious, poetic, tragic work in animation. The film's characters and backdrops were composed of several layers of different types of paper from semi- transparent to thick cardboard. Special effects like halos, smoke and fog were made with lather spread on glass plates and lit from behind. The film was based on a book of woodcuts from Frans Masereel and the animated film featured a score by composer Arthur Honegger, who employed the Ondes Martenot in his score, the very first use of an electronic instrument in film history ... see and hear it - it's our current PYTHEAS SIGHTING.
"For sheer visceral effect, nothing matched Chen Yi's Spring Dreams. The idea of 'petals falling' was conveyed through rhythmic whispers and chatters, birds by pulsating whistles. In the midst of this cumulative din the sound of voices actually singing came as a jolt. Chen has the ability to create a minor sensation with the simplest of means." - Paul Horsely, The Kansas City Star. See a perfomance of Chen Yi's Spring Dreams (1997) by Chanticleer at this week's FROM THE PYTHEAS ARCHIVES.
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music
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