Search Results

Adagio
Adagio is, as the title suggests, cast very much in the tradition of the late-Romantic symphonic slow movement, with its carefully measured pacing combined with a dramatic use of weight and drive. In particular, Adagio has a special relationship with the slow movements of Mahler's symphonies, this relationship being present at different levels and to different degrees at various points in the piece, ranging from the use of generally expressive gestures to explicit 'quotations' (particularly from the Andante of the Sixth Symphony). Perhaps the most easily perceived Mahlerian trait in Adagio is the use of randomly struck cowbells which permeate the Sixth and Seventh Symphonies. Adagio was composed in the summer of 1985 in the Electroacoustic Music Studios of the University of Birmingham. It won the EMAS/PRS prize in 1986.
Alternances
"Alternances" for violin, clarinet, piano, percussion, cello and tape was written in 1985, the electroacoustic effects being made in the studio of Romanian Radio-Television. The room consists of seven sections, including sections 2, 4 and 6 on tape. The 6th section on tape and "life" is the recurrence of the second section, of the same existing correspondence between sections 1 and 7, 3 and 4. The dominant idea of ​​the work is that of the imbsication of parallel music, with particular character and evolution. The music "life" is transformational, while that recorded in advance is non-transformational and has the appearance of a sound plasma; the first is discontinuous and the second - continuous. From the expressive point of view, the sounds "life" suggest belonging to the world of appearances; on the contrary, the sounds recorded on tape suggest a world of essences, permanence.
Anamorphées
"Anamorphées" was made entirely from a single instrument (saxophone) of five seconds, processed in computer delayed time. The basic instrumental sequence is presented, isolated before the play for the jury. The use of a reduced original material makes it possible to carry out a real "genetic" work of sound and musical development where each stage of treatment is an opening towards other possible ones. From mutations to successive mutations, the resulting sound objects are diversified, progressively or radically different from the basic model, becoming themselves the starting point of a new tree generation of transformations, then developed and organized in sequence by micro-operations. montages, tiling, brewing ... Some terminal sounds are separated from the basic sequence of a considerable number of transformations (sometimes more than thirty), something unrealizable without technical problems (support) in an analog studio. Just as impossible, carried out traditionally, are the operations brought by certain programs dealing with the temporal order allowing extremely complex micro-assemblies going below the only ones of temporal perception until the organization of whole sequences, making pass the anamorphosis of the detail to the composition. The anamorphosis is also of musical order - to take a very conventional instrumental sequence: legatissimo and rapid chromatic twisting to moult it following very different "phases-states" deviating from the original model by its principles.
Anguish in Lebanon
In this piece, the digitally constructed voices, 13th root of 3.14 tuning and distorted piano all combine to create a sonic field at first curious and finally frightening. It is the composer's intention to bring to mind not only the anguish of interminable war but the ambiguities of life for those whose mother country is so afflicted.
Antiphony IX
Commissioned by the Kansas City Civic Orchestra, Glenn Block, cond.; Premiere: Electronic Music Festival; Kansas City Conservatory of Music, 10.13.85 MS
L'Apocalypse
Recording of Xavier Garcia's L'Apocalypse.
Before the Sea of Glass
The title "Before the Sea of ​​Glass" refers to a scene described by the Apostle John in his revelations. Having reached Paradise, he sees a throne surrounded by a rainbow from which flashes, rumblings, and thundering sounds start. Around the throne there were twenty-four old men in white, four strange winged creatures covered with eyes, and angels in great numbers. Each in turn worshiped the one seated on the throne. A myriad of diverse creatures united in the same act of worship: a scene at once majestic and sublimely peaceful. And in front of the throne in the midst of this adoration is "what looks like a sea of ​​glass, clear as crystal". The music is based on three types of material: a buzzing of the strings, melodic circles derived from the strings and bell-shaped bell tones in contrast. They were all produced on the EMS 100 synthesizer. The buzzing between imperceptibly through a series of inversions and varied spaces, to evolve into focal point of the climax. The melodic circles are formed by a "sweeping" filter that illuminates the harmonics of the buzz. United by a common source but distinguished by different rhythmic times and patterns, they intertwine each other, giving the music a melodic circles and movements of bells are governed by a principle. Each is repeated three times during the work, each repetition being different in a certain way, thus resulting from the micro-ternary forms between the repetitions themselves.
Berceuse pour Emmanuel
"Berceuse pour Emmanuel" is a command from my wife to make our son Emmanuel sleep.
The Birth of a Smile
Miniature of a time process between five and nine in the morning. Dedicated to the Orgel Draaier, the men who carry their Barrel-Organ through the streets of Utrech.
...black it stood as night
This piece is a band-only version of "The Other Shape", for a percussionist and band, whose composition was screened mainly on antinomies. Between the short and the long, by example; short and resonant sound; the dry and the reverberated, or the lying down; the continuity of silence or holding, opposed to the explosion brutal and ephemeral percussive sounds, etc. Like in many others pieces, this dialectic had led me to a form typically segmented and punctuated, simple and bare. These antithetical elements are less apparent in the present version, mainly because of the absence of games played by the percussionist in the original piece. Also the shape is it less sharply cut. Some elements, and whole sections, are deleted; some items are moved. The order of exposure is recomposed in another perspective, and the realization of the mix, more tight and raised, meets the requirements of the solo band. The vast majority of sounds come from recordings of real percussion instruments. They are presented "nature" or variously transformed (timbre colorings, modulations dynamics, lengthening, reverberations, etc.). Continuous textures are composed of outfits reminiscent of the stamps of certain percussions (wood, skins, metals and bells). Towards the end of the room, brutal energetic explosions, resolving in rhythms, constitute the only elements totally foreign to this universe of percussion instrumental. They affirm, however, the same species: shock explosive, resonance, rhythm. For the realization of this band, I resorted to many composition programs, acting either at the level of whole sections, the establishment of frameworks, the detailed specification of stochastic structures, or even the arrangement of the components of certain complex sounds and textures, and the direct synthesis of some sounds. Depending on the case, these programs were written in VLISP, FORMES or C. Most of the sound elements have been calculated in deferred …
Bristlecone Concerto No. 2
Recording of David Jaffe's Bristlecone Concerto No. 2.
Caballos
A recording of Juan Marcos Blanco's Caballos.
Canales
For four channel computer synthesised tape. This is a stereo version. This work was composed at CCRMA (1985), Stanford University, using the Samson Box digital synthesizer and the programs to control it written by Bill Schottstead. The structure of "Canales" results from the combination of opposite aspects of rhythm, pitch and timbre such as rhythmic/arhythmic, consonant/dissonant and harmonic/inharmonic. Rhythms and pitches were selected with regard to recent theories in psychoacoustics (Fraisse, Plomp, Rasch and others). Timbres were synthesized using frequency-modulation techniques. All variations and combinations of parameters were carefully controlled through time in order to get a maximum of variety and richness. Programs were written to allow the computer to amplify my musical ideas and even my imagination. The title, which means "canals", refers to my work of "canalizing" the parameter stream.
Cantus
After my first experiences in musique concrète, and even more so, when I started using the computer for music composition, I wanted to be able to compose the sound material , as I composed the structures when I wrote "notes" for instrumentalists. Our first researches, from 1976 (by means of a microprocessor that we had procured for ourselves), were done in this direction: to put the sound matter in memory and to fragment it so that it became "reflowable". The microprocessor of this era providing little computational power, it was necessary to imagine sound-efficient methods, but inexpensive in calculation - and we then formulated and exploited the method of "zero crossing". Indeed, by sharing the sound in small isolated waveforms, each having the property to start and end on the zero axis (energy equal to 0 volts, corresponding to the rest position of the speaker's diaphragm) ), it is possible to glue these shapes together in any order (so to compose from a given set of elements) without losing too much of the sound quality (spectral content) of each element.
Caroselli
This is a fun piece and should be enjoyed by both the instrumentalists and the audience. The idea of the work is obvious from the name, "Carousel". Labels run our lives – who, what, where we are and so forth. Minimalism, Maximalism, Expressionist, traditional. All these labels have different meanings according to who is listening. Not mentioning the importance of where the listener is from. This piece should be listened to, and not labeled. It is conceived fro the Electro-Acoustic Concert Environment, and the colors here are painted for your ears. Enjoy.
Chants Magnétiques
Thoughts come tumbling in, unordered and often without any connection with the composition no which you are working. This was also the case during the time I was composing my Ritournelles for soprano and computer. A flood of material and studies came into existence which could not be fit into my Ritournelles. From out this material resulted in my piece "Chants Magnétiques" on January 20th, 1985 in two hours by writing a command string at a high tempo and reading it into my MIDIM system on the PDP-15 computer. The piece was immediately recorded on 4-track tape and no corrections were later applied. It had its premiere two days later on January 22nd, 1985 at Muziekontrum Vredenburg in Utrecht.
Chromatonal
"Chromatonal" is an exploration of the twelve intervals in the tempered scale. The music contains twelve sections, each of increasing length - the first is 10 seconds, the second is 20, the third is 30, etc. Each section concentrates on a particular interval and is punctuated by a "spatial" sound. The sections alternate between melodic and harmonic textures. Pitch classes are devised up into two groups as follows: Group I – a-flat(8), g-flat(6), b-flat(10), d(2), d-flat(1); Group II – e-flat(3), a(9), e(4), f(5), c(0). The sections alternate their focus between both groups with Group I being harmonic and Group II being melodic, however, pitches from each group are used for harmonic purposes in all sections. The pitch class dominates both melodic and harmonic content. Therefore, the first section is harmonic and based on minor sixths, the second is melodic and based on minor thirds (and so on …). Since there is no harmonic movement within sections, the rhythmic complexity increases to produce a sense of forward motion. As the music becomes more rhythmic, phrases become more jagged and the sound less reflective. The creation of this piece would not have been possible without the cooperation of the staff at CCRMA (Stanford University) and the financial support from the Rockefeller foundation. My sincere gratitude goes out to those people.
Cómo es Lily?
Lily, how is she? She is sweet, she is cute ... very delicate. Melancholy sometimes: she is ticklish Irritable ... she lets herself die, burned by the flames.
Composition 16
Recording of Takehito Shimazu's Composition 16.
Contrepoint
The different harmonic parts are gradually faded, in favor of masses of stamps that contrast in height. Micro-events punctuate them.The rhythmic part that follows is based on a new series, which in turn goes down to silence (13 ''). New micro-events occur and reappear the first series which in turn allows the melodic line to reappear. Melodic line that is fixed with a double, out of order, and which will gradually highlight its own variations that interact with natural sounds (voices and laughter). This piece was done at IPEM.
Conversation
This work was composed in 1985. It uses voices recorded in Japan and Thailand, hence the title of "Conversation", although the voices are generally used in a more musical than semantic way. The instruments respond to these voices in different ways during the course of the work, which also gives it a conversational character. This work can be considered as a continuation of "Orchestra" and "Ten Temperaments" in that the image of the sounds resumes the orchestra like a prototype. The recordings of votes were made by Lennart Wretlind.
Corale quasi una fantasia
"Corale quasi une fantasia" (or more correctly "Fantasia quasi une corale") was composed in July 1985 at the Electronic Music Studio in Cologne. My goal was less to compose a "work" or a "piece", than to do ten minutes that I would like, and if possible that you would like too.
Cracovie mon amour
I is the opening part of my Polish trilogy, an electronic romance for synthesizers and loudspeakers. It is meant to be performed outside in the nature giving thus the surrounding town and landscape architecture to modify its original instrumental voices. One of its most beautiful performances it received in Matera the south Italy where it«s voices were echoing behind the cabyon splitting the town. Later this piece often has been used as a small romantic "opening the ears" entry after which the strong voices of war performance made by ProTon Sonic Art group have made extremely strong influence. "Cracovie mon amour, Cracow mon amour" (comparison; Alan Resnais: Hiroshima, mon amour) is dedicated to my wife Agnieszka. Realized partly at Cracow Music Academy«s electronic music studio partly in YLE Experimental Studio, Helsinki.
Cuenca
The result of a long stay in the city of Cuenca during the summer of 1985 and a reflection of various experiences. In the first place, the influence of the city and its impressive landscape is undeniable. In addition, I wanted to pay a cryptic tribute to the writer Villiers de L'Isle-Adam: his short story The secret of ancient music, which is part of his cruel tales, awakened in me the fascination for this unusual an instrument of the nineteenth century called "Chinese hat", fascination that led me to build myself a sophisticated version that I called "big Chinese hat" because of its considerable dimensions. This instrument is the origin of agglomerates of concrete sounds that collide, move, disintegrate and blend together with other sounds of electronic origin into a magical mix throughout the work.
Dans le jardin
Recording of José Vicente Asuar's Dans le jardin.
Davon geht die welt nicht unter
Around us are time bombs, latent disasters, wars and calamities - but: "From the world does not perish". The song is composed from the song of Zahra Leander and archival documents.
Déjà vu
Déjà vu was written in 1958 in collaboration with Vladan Radovanovic. The work is inspired by the European Music Year. It is based on variations of B_A_C_H + S_C_A_(rlatti) + H (än) DE (1) motives and quotations from three works by Bach, Scarlatti and Händel. To recognize something as already experienced, in other words déjà vu as psychological term, is symbolically expressed through the author's music, passages and strata from the very composition, through the self quotation, and remindings of natural sounds as well.
Deve essere tenuto lontano da fonti di luce
This composition utilizes a lexicon of few simple elements (lexes) subordinated to compositional laws which do not reduce themselves to cumulative associations. They give to the whole characteristic features which are different from those of the single elements. A first set of rules is given by a well-defined ordering of low-level parameters, those which give rise to complex tones: number of partials, entry delay, relative durations, amplitude and spectral envelopes, attack rate, slow amplitude and frequency modulations, etc. At higher level there is a timbre space built on two dimensions which control the harmonicity of the complexes: compression-stretching and shifting. These determine one of the cues investigated by Stephen McAdams in his study on Auditory Images. The formal rules are first used for the organization of the single sounds in rhythmic structures and then for the arrangements of these structures to form the composition's whole. A fundamental feature of a structure as organization of meaningful parts is self-regulation. The structure controls and adjusts itself becoming a natural phenomenon. Rhythm reaches self-regulation by simple means such as symmetry and repetition. From these considerations comes the use of simple and regular rhythmic structures with a deep repetition character. The timbre space above mentioned enhances and more often alters this self-regulation when rhythmic organization and timbral organization are in conflict. Isolated concrete sounds represents the relation between synthetic and real worlds. I wish to thank Graziano Tisato of Centro di Sonologia Computazionale - University of Padova, where the work was realized.
Dialogue
Creation at the castle of Clermont in August 85. This piece was the subject of a video production in collaboration with Léon DIAZ-RONDA, engraver and painter (Title: "Monologue Two"). Dialogue is divided into 5 movements: - DICTATURE - STRESS - CHARM - SENSUALITY - LEAK Each movement illustrates a scene that relates to me a situation of dialogue (communication). Formally, two sound materials are used in each of the five movements. One of these two materials is then developed in the following movement (modulation principle) added to a new material. The five movements are constructed of this same method.
Different Attitudes
A musical essay on the aspects of time: report and situation. Work performed at the Institute of Sonology Utrecht (Netherlands).
Dorian
A universe. Self-contained. Where timbre were the principal item. To force it into another state; apart; and let it, in accordance with its own laws, return to its rest; and then to begin to compose. Bend and vary, change and break. To alter some kind of perfection in order to attain something else. Two main items shared the conception of this piece: the possible richness in perception provoked by the duality: whole versus parts; and the possibility of mapping into musical events the behaviour of an abstract system of interrelated objects when following an stochastic process towards its equilibrium. My first step was to define, in terms of a macro-static situation, the final state of my system. This final structure defined the harmonic, dynamic and timbrical aspects of nine different "objects" (fundamental, formant areas, subharmonics,modulations and relative microcomportment of these characteristics within one instance). The relative durations in the equilibrium of these objects, as well as the whole duration of the piece, the structural points defining the macroform, and other characteristics of the whole (hierarchies, symmetries...) were evolved from this final state of the system. {I was careful to define very colourful and individualistic microbehaviours for these objects, whilst, on the other hand, I was harmonically and spectrally provoking an amalgamation of all sounds.} The next step was to create an algorithm, basically a thermodynamic -stochastic process, which would follow, within the scope of the degrees of freedom of the system, the "hinges" marked as structural points and the other previously mentioned characteristics. It was something like taking this system from its repose and forcing it into a different state, and then, shifting and biasing its natural tendency towards its rest state inserting gates and force fields in its way.
The Dreams of J. Wyx
This piece is part of a cycle of eight pieces. J.M. Wyx is a fictional figure, suggesting a fanciful atmosphere of an ancient world and historical instruments. Its form is a large ABA form. Apart from its composed parts, the piece offers a possibility of improvisation for the solo instrument, the hurdy-gurdy.
The Dualism
This composition is the second part of tetralogy "Leters" which was composed in the honor of St. Ciril and Method, a founders of Slavs alphabet. The tetralogy is based on works of prominent figures in late racy from the nine century up to date and his point of view on different problems of human existence. Trough poetry and letters of the most outstanding figure in Yugoslav literature of 19th century P.P. NJEGOS, bishop, governor, Worior and poet, "The Dualism" treats relations of human being and outer world. The composition has three sections. The first one, which is built on parts of Njegos philosophical poem Ç The Light of Microcosmos È, speaks about attempt of ordinary man to explain eternal ideas, haven and God himself and impossibility of achieving that. The second one which uses Nj egos Letters to Turks, for a long time enemies, speaks about readiness of human to fight for freedom and will to set a piece in the name of saving hit only own but also lives of enemies. Final section which has also versus from the same poem brings conclusion, about necessity of way living together of all things and opposites in the world in the favour of universal harmony. "Yes, spark gave birth to the Light Ocean was made of drops and the glory of the Lord is great within mortal and immortal. Electronic has been treated as integrated part of performing ensemble/flute, trumpet, cello, piano, percussion, actor and female choir/and has primarily function of extension of choir sound and "connection between earth and haven".
...Dwelling place of the acts...
Lord Buddha turned his entire body round like an elephant, looked at the town of Vaisali, and uttered these words : O vaisali, this is the last time that I see you. For I an now departing for Nirvana ! At Gaya, at the time when I won enlightenment, I got rid of the causes of becoming, which are nothing but a gang of harmful vipers ; now the hour comes near when I get rid also of this body, the dwelling place of the acts accumulated in the past. Now that at last this body, which harbours so much ill, is on its way out; now that at last the frightful dangers of becoming are about to be extinct; now that at last I emerge from the vast and endless suffering-is that the time for you to grieve ? So spoke the sage of the Shakya tribe, and the thunder of his voice contrasted strangely with the deep calm with which he faced his departure. Each of us has our own dwelling place of the acts, and each of us can walk the path away from this dwelling place. This piece is an aural analog of such an action.
Electric Rags
Recording of Alvin S. Curran's Electric Rags.
Elektronka Meditasijo
The piece is built on a temperate tonal system of 12 fragments that play the role of a kind of model / model of music. By applying the techniques of collage or subtle modification and confrontations between the 12 mentioned fragments, a polyphonic musical structure has been created. The electronic recording (the synth-100) was used like all other sounds respecting its own specificities.
Ep'85
As the title suggests, Ep '85, a sort of contemporary epic poem, is a work composed using original or prepared elements of traditional games, songs, and lyrics as well as various "models". 'pure electronics' which, in my opinion, is comparable to some kind of traditional music. The work deals with a "universal" epic thought and does not need translation of this lyricism despite their use. However, the composition includes both important parts and lyric episodes, just as in the epic poems of the past.
Estructuras 6502
The work is a theme with variations. The theme is the graphic form of a parable and is developed in three sections in the field of heights on different types of timbres and articulations. A fourth section summarizes the whole with a stretto. This piece was made using a microprocessor 6502 by first calculating numbers representative of the heights and durations that are stored. After, this memory is emptied in real time on a digital analog converter which controls the corresponding parameters on a Sinty_AKS synthesizer.
Estudio Electrónico II
Composed in the Laboratory of Investigation and Musical Production (LIPM) of the Recoleta Cultural Center, Buenos Aires, Argentina. Was composed with a Synclavier II. The original mixture was composed in four channels. The sonorous material was elaborated from 34 basic timbres generated from sinusoidal sounds, harmonic, inharmonic spectrum or colored noise bands. The different structures happen one after another, without stopping.
Etaoin Shrdlu
Etaoin Shrdlu (1985) for double-bass and live electronics coauthor: Marcello Federici published by Edipan commission: Festival Musica Verticale duration: 16'30" 1st performance: Rome, Musica Verticale Festival 23/11/85 performer: Marcello Federici - double-bass
Étoiles (Album illustrés en couleurs)
Recording of Daniel Arfib's Étoiles (Album illustrés en couleurs)
Falling of Leaves Makes Trees Invisible
This composition from the composer's early period is comprised of the soloist's part on the harpsichord, women’s choir, chamber ensemble of a quite unusual cast and electronically processed concrete and synthesized sound entities. On its symbolical level and in its dramaturgical concept, the rule of the dark/the rule of the evil forces and the fear of cataclysm prevail. The composer found his initial creative impulse in Cage’s (John Milton Cage (September 5, 1912–August 12, 1992)) sentence Falling Leaves Makes Trees Visible that in apotheosic sense represents the prime motive of 20th century structuralism. The authors resistance to the mentioned sentence is proved in the essential difference in the message – his work conveys that entities without distinctive aesthetic attributes of beautiful or ugly do not communicate. The crucial modification of the thesis results in the message expressed in the title of the composition. According to its subjective definition it can predict the future past/ the future end / future death /future expiry/passing away (maybe even terminal). The composition is realised in the Radio Beograd electronic studio.
Fanfares
The piece uses as basic materials the recordings I made in Indonesia, 4 examples of the music used by street vendors. The first is an ice cream vendor who rides a bicycle with a cooler in the back. He plays a small instrument with a metal hip that looks a bit like a trumpet. This instrument does not have a hole for the fingers and the different heights are obtained by the variation of the air pressure. As far as I could judge, this instrument is unique. Street vendors typically use commonly recognized sounds and calls that easily identify the product they are selling. The second is a seller of "Arum Manis". He wears a box on his hip, hung on his shoulder and plays a small 2-string violin, which he calls "rebab" but which resembles the "Chinese er-hu". Originally a stick with a small cylindrical resonator mounted at right angles and supporting 2 strings, the bow passing between them. Original detail, the bridge consists of a small shell. The 3rd musician is also a seller of "Arum manis", the semicircular case that he uses is hanging around his neck and tied around the waist. Attached to the outside 7 small pockets with very studied sounds that resonate when they collide. The lids of the box are also struck to evoke the serious sound of a gong.
Fleeting Images
Composed in December 1985, Fleeting Images uses the POD system for computer synthesis and composition developed by Barry Truax at Simon Fraser University in Vancouver. Environmental sound images based on real recorded experiences develop during the piece. This active, rhythmic textures are suggestive of the dynamism of nature - birds, insects and the bubbling energy of geothermal activity while the long sustained sounds conjure up images of waves crashing on rocky coastline mixed with the humming of telephone wires across vast open plains. Such extra-musical aspects however are merely stimuli to the composer's imagination and these ideas are articulated in a wide variety of textures. The contrast of noise-like with pure timbres is evident as is the "joie de vivre" aspect of the piece heard in the energetic, dance-like rhythmic sections, the pitches and durations of which were chosen by controlled random processes afforded by the versatile POD system.
Frost
This piece is a French creation, made in 1985. It is a stage music for the play "Ibsen" by John Gabriel Borkmann, act 4: winter landscape in the relationship of men ...
Galileo Galilei
Based on the play "Vie de Galileo, Galilei" by Bertold Brech, this music synthesizes the spirit of staging performed in Havana, by the "Grupo Teatro Estudio" (Theater Group Studio) under the direction of Vicente Revvetta. The voices of the actors themselves, emitted during the preparation exercises for staging, have been used as acoustic material. Moreover, the materials obtained by electronic synthesis anological were used the realization of this work.
An Island of Tears
Recording of Jonathan Berger's An Island of Tears.
Isola
"Isola" was commissioned by Swedish and Netherlands Radio Companies for the Asko Ensemble, the piece utilizes a many fold worlds of compositional techniques overlapping each other and controlling different parts of the instruments. Sometimes in groups of instruments or individual instruments. Sometimes controlling the whole of the musical structure. "Surrounded" by the instrumental structures lies a tape part based on sampled "microsounds" and freezings of small parts of the instrumental part, thus creating an isolated reflection of the worlds around it. The piece uses a simple overall shape, starting a vague "blue" it develops more pregnant structure as well as intensity, finally ending in a totally "freezed" coda.
Jardins/Ceremonias
It is a piece that represents a search in the organization of sound elements based on the conception: continuity - discontinuity. The elements are structured mainly by an alternation of static and continuous sequences opposed to rhythmic and changing passages looking for the same time the opposition of those elements. The succession and superposition of these sound complexes start from basic structures, and their developments, combinations and transformations, will create new structures and sequences that contribute to the formal organization of the piece. It won the first Gaudeamus prize in the Netherlands in 1976.
Jubilum
Recording of Ira Mowitz's Jubilum.
Back to Top of Screen