Thursday, October 27, 2016

"le piano octosyllabique"



"le piano octosyllabique"


"le piano octosyllabique"

"le piano octosyllabique"

"le piano octosyllabique"

"le piano octosyllabique"

"le piano octosyllabique"

"le piano octosyllabique"

"Staged Involuntary Limbic Experiments" . The Recording.


"Staged Involuntary Limbic Experiments" 
for Two String Quartets 
(2012-2013) 
Bil Smith Composer
This performance made possible with the generous assistance of Etisalat

Recording available for a limited time on Soundcloud:




"Glue Glacial" (Excerpt) for Violin





"Capitulated Fantasy". For Echo Cornet


Evolutionary, Revolutionary and Disruptive Ideation in Contemporary Composition




"Equilibrado". Louise Wei Composer


"Equilibrado" 

for Baritone Horn & Alto Flute

Louise Wei, Composer

2014-2015

"Topped Out" for Guitar, Accordion, Viola and Violin

"Topped Out" 

for Guitar, Accordion, Viola and Violin

Bil Smith Composer

2014-2015










Wednesday, October 26, 2016

"Split By An Immense Roar" for Chamber Orchestra, et al




"Split By An Immense Roar" for Chamber Orchestra, et al: 
Bil Smith Composer (2014)
Compositional Concept Funded and Devised by Louise Lord. 
Execution by Jeorne Balette (IRCAM). With assistance from the NYPD, Johnson Tremidy, Donald Foerbasch, Radio France, Verizon and The Locke Family.
Phasation Two: The meaning of compositional content of this experience is corporeal. 
It seems to be in a category all of it's own; categorized with it's descriptions of essence; description is to be extolled for it's accuracy, effectiveness and aptness. Add kinesthetic and synesthetic aspect of the very absence of certainty and uncertainty.
Thematic cues from the following:
Asthenolagnia...Autem Morte...Attractancy...Atracador...Auto-Onanism...Auxocyte...Avisodomy...Axillism...Ayuga...Azona...
Azoospermatism...Autospermatoxin...Autoerastia

The recording On SoundCloud:



Large Format Score: Revised "Swellow" For Three Trumpets: F Trumpet, E# Trumpet and G Trumpet

Swellow.  Large Format Score for three trumpets: DETAIL
Swellow.  Large Format Score for three trumpets


Performance A:  The Parlor, Soho, NY. NY.  June 3 2014



Performance B: Beall Concert Hall, University of Oregon.  June 4 2014


Performance C: Davis Museum. Wellesley College. June 5 2014

Performance D: NYU Langone Medical Center. June 6 2014


Swellow.  Large Format Score for three trumpets: DETAIL


Swellow.  Large Format Score for three trumpets: DETAIL




Swellow.  Large Format Score for three trumpets: DETAIL




Swellow.  Large Format Score for three trumpets: DETAIL




Swellow.  Large Format Score for three trumpets: DETAIL

Lodestar One. Bil Smith Composer








Where there is so much talk of liberation there are sure to be very disturbing reverberations within the world of established, acceptable criteria. The liberation of words, objects, sounds, etc., should be seen as different from the confusions surrounding the idea of making them free. They are already free, before anyone ever thinks of using them. The idea of them being liberated is relative to the use that they have been put to (and enslaved by) in the past.

They cannot be more free than they are, but they can be liberated from their conceptual inheritance, and we from ours. That is the point at which we can realize that we are already as free as words, objects, and sounds are. Everything is then free to move in all directions to all meanings.
Earle Brown, 1965

"Similar Monomania" For Orchestra and Seven (7) Pianos. Bil Smith Composer


"Similar Monomania" For Orchestra and Seven Pianos (2012). Bil Smith Composer
Supported by a contribution from Balenciaga and Chief Creative Director Nicolas Ghesquière.
"Remarkably comfortable with causation, he seems to be moving through some ritual process that explodes into life threatening chaos at any moment. It's tempting to talk about shamanic journeys. The absence of a prevailing stylistic orthodoxy is striking"
- Clive Bell on Bil Smith's "Similar Monomania" for Wire



Listen On SoundCloud:

Electromyography



On Composer's and Appropriation...



Appropriation, following a visual arts model, lifts musical passage in its entirety, reframing it in a score. 

There is very little intervention and editing; the intention begins and ends with the lifting. 

As such, textual appropriation often involves issues of quantity: how much untreated composition is grabbed determines the action. 

Let's look at poetics - if something — say a haiku — is appropriated in its entirety, then the amount of language is small. 

If, on the other hand (as suggested in recent comments to these posts), the Gutenberg Bible is transposed, then the amount of language is enormous. Referring to Marjorie Perloff’s idea of Benjamin’s Arcades Project as a precursor to conceptual poetics, that book deals in complete chunks of pre-existing texts, often running untouched for up to ten pages. 

If we compare this to Pound’s Cantos, we’ll see the difference between the whole and the fragment, a very different project, indeed.

The visual arts began this practice in the twentieth century with Duchamp’s appropriation of a urinal and found its legacy in the consumerist photographic critiques of the 1980s, particularly in the works of Sherrie Levine’s re-photographing of modernist masters and Richard Prince’s and Jeff Koons appropriations of unaltered advertisements. 

Today, of course, appropriation is old hat in the art world. 

But composing — with its reception still fifty years behind visual art — is just beginning to struggle with these issues.  But it is fun.

Post-Conceptual Composition





Conceptual composition may or may not be played out. Certainly the works that have come to define it have created a recognizable framework for critical appreciation and as I see many much younger composers taking up its approaches in what feels like a formulaic way, that seems to signal a phase of exhaustion to me, but perhaps not to others.
What I am addressing are the ways conceptual composition is the indicative aesthetic in our time—for reasons that have to do with larger cultural shifts.
Not everyone will remember the resistance to conceptualism’s place in music history, but in the 1990s, it was in response to the prevalent notion that minimalism had been single most important development of the 1960s.
What composition and aesthetics are, and how we understand them, is not unrelated to what they do, or how they show and indicate other changes. I sense emergent phenomena in the current culture that are expressions of collective, aggregate, voice, at a scale and with a willing participation in group think that is different from that which characterized modernism, romanticism, and contemporary work.
Will it displace other modes? Take its place alongside? Change values and aesthetic practices?

Questions as yet unanswerable.

Tuesday, October 25, 2016

“Thick Channel Black Bourbon” for Solo Voice: 107 Recordings...107 Sopranos"

Score Excerpt
This is the complete score with performance notes for “Thick Channel Black Bourbon” for Solo Voice recorded on the Laboratorie New Music label.


To date, this has been recorded 107 times live and in the studio.  LNM will be releasing the entire output.



Score Cover Page
Anna Nebtreko  V 38  Recorded November, 2012
Ana Maria Martinez  Recorded January, 2013











Score Excerpt  "Thick Channel Black Bourbon"