larynx, closing

last week, I released a new album of solo material. larynx, closing is a collection of two, or maybe three, or maybe four pieces across one hour and twenty minutes. it is very quiet.

SIDE A

1 – grid of four: first, across (16:07)

2 – against the grain, larynx (24:45)

SIDE B

3 – against the grain, larynx (continued, end) (16:34)

4 – grid of four: first (alternate take) and second, across (23:40)

viola. harmonium. Klaus Lang on Ilkley moor.

Last November I made a short film with Klaus Lang up on Ilkley Moor. I wrote a piece for Klaus and, together with Viola d’Amore player Barbara Konrad, we carried a harmonium up onto the moor. The film documents two pieces, my ‘a technical diagram for the abstraction of ockeghem’s missa pro defunctis: kyrie, side elevation‘ and a section from Klaus’ longer cycle: ‘viola. harmonium.

viola. harmonium. on Ilkley Moor from Oliver Thurley on Vimeo.

This film couldn’t have been made without Ollie Jenkins, who took care of all the filming and editing, and Elspeth Mitchell, who helped organise and produce everything. The project was part-funded by the Centre for Practice-Led Research in the Arts (CePRA) at the University of Leeds. Thanks also to Helen Barker and Rex Russell for their assistance.

NOCTURNES ~ WITH ZERO cassette

IMG_1181 (1)

 

A slight digression from the usual “contemporary classical(ish)” stuff, I’ve released a new tape under my WITH ZERO moniker. NOCTURNES is a 60-minute slow-burning new age piece, intended for deep nighttime listening, meditation and states of half waking/consciousness.

 


cover-set

 

The cassette comes in a limited edition of 50, pro-dubbed on transparent glittering shells (because, y’know…) and is available via bandcamp.

 

IMG_1142 (1)

 

The WITH ZERO project has been around since about 2012, mainly as a hard drive with which to store miscellaneous synthesiser sketches. This is the first proper release, with a few more in the pipeline for the next couple of months.

Ullmann article now up

Screen Shot 2015-09-08 at 09.52.46

 

I recently wrote an article on fragility in the music of Jakob Ullmann. I’m very pleased to say that it is now available, published in the excellent TEMPO music journal (Volume 69 / Issue 274, Cambridge University Press).

 

If you have institution access (or a subscription, which is well worth it), you can read the article here, otherwise, I hope to make the text available as soon as I figure out a way around academia’s archaic copyright systems ( cough email me cough).

 

For those within reach of HCMF this year, you have a great chance to see a rare performance of Ullmann’s work coming up. Don’t miss it…

Jakob Ullmann :: LIST OF WORKS [2015]

[This list is also available via my academia.edu page and in PDF here.]

Jakob Ullmann

— chronological list of works —

 

Komposition 2 für Orgel

(1982)

Organ solo

Komposition für 10 Instrumente (I-V)

(1982)

  Fl., cl., hn., 4 vl., vla., vc., cb

10’

Komposition für Flote (I-III)

(1983)

  Flute solo 

MNIMA auf texte von Anna Achmatova

(1984)

3 female voices, alt.fl., ob., vc., cb.cl. und 36 solo strings

Komposition für Streichquartett

(1985-86)

  String quartet

30’|| recording

Komposition für Posaune

(1986)

  Trombone solo

Symmetries on א [aleph] zero 1

(1986-87)

  12 instruments

Symmetries on א [aleph] zero 2 (Komposition für Violine)

(1986-87)

  Violin solo

  15′ || recording

Symmetries on א [aleph] zero 3

(1986-87)

  4 percussionists

  15′

ALAKATA in fünf teilen

(1987-88)

  Fl., eh., tbn., perc., hf., va., vc., cb.

  22′

La CAnción del ÁnGEl Desaparecido

(1987-88)

  Ob., eh., tbn., perc., va., vc., cb.

  25′

…stimmen…

(1987-88)

  Horn quintet

Son Imaginaire II

(1988-89)

  Piano solo

  Duration ad lib.

Son Imaginaire III (piano pianissimo)

(1988-89)

  Any instrumental group

  32′

Meeting John Cage Under The Tropic Of The Late Eighties Oder Wir Überholen Die Moderne

(1988-89)

  Instrumentation ad lib.

60′

Komposition á 9 (Palimpsest)

(1989-90)

Voice, 2 fl., b.cl., vl., tbn., va., vc.

30’|| recording

Pianissimo

(1989-90)

Viola and live-electronics

30′

Disappearing Musics

(1989-91)

6 Players (More Or Less)

32′ || recording (1)  || recording (2)

Ensemblekomposition

(1989 – work in progress)

2 fl., ob., 2 b.cl., 3 tbn., perc., va., 5 vc., 2 cb., 17 actors

60′

Due Frammenti (für Luigi Nono)

(1990)

Orchestra

15′

Komposition 1 für Orchester (I-V) »…Schwarzer Sand/Schnee…«

(1990-91)

Orchestra

i: fl., eh., tbn., hf., 4 vl., 6 va., 2 vc., ii: ob., bssn., tr., 4 hrn. , timp., 2 vl., va., 2 vc., 2 kb., iii: kl., basskl., bssn., tr., 7 vl., 2 va., vc., iv: picc., fl., eh., basskl., 2 tbn., 13 vl., va., 3 vc., 4 cb., 3 perc.

50’|| recording

voice, books and FIRE I

(1990-95)

Voice(s) and any sound-creators

70′(original score lost)

25 Items in Variations (II)

(1991-92)

Preparations for John Cage’s Variations II for chamber ensemble

recording

voice, books and FIRE II/2

(1991-93)

Voices (and sound-creators)

25′

Echoing The Distant Sounds

(1991-93)

Percussion, 4 (wood)wind and string trio

45′

– also performable separately:

Komposition für Streichtrio (I-III)

(1991-93)

(String trio from Echoing The Distant Sounds)

45′

Solo I

(1992-93; revised 2010)

Flute solo (later oboe da caccia)

25′

Solo II

(1992-93; 2010)

Trombone solo (later bassoon)

  25’

Solo III

(1992-93; revised 2010; 2012)

  Organ solo

  32’ min || recording

— all Solo series may also be performed with accompanying electronic modification or in combination with other solos —  also recorded as Solo I+II+III || recording

Komposition für Orchester 2

(1993)

  Orchestra

i: fl., b.cl., tbn., eh., 2 vl., va., 2 vc., 3 cb., string trio i; ii: 4 hr., pno., vl., 2 va., 2 vc., 3 cb., string trio ii; iii: fl., tbn., cl., bssn., timp., 2 vl., va., vc., kb.

  45′

voice, books and FIRE II/1

(1993-96)

  Voices

  45′

Komposition für Orchester 3

(1994)

    Orchestra

i: fl., b.cl., tbn., perc., 5 vl., 2 va., 3 vc., cb.; ii: bssn., 4 hr., tr., 6 vl., va., 2 vc., 2 kb; iii: fl., ob., 2 cl., bssn., timp., 6 vl., 2 va., 2 vc., kb.; iv: eh., tbn., 6 vl., 3 va., vc., cb.; v: fl., eh., tbn., perc., 5 vl., 2 va., vc., 3 cb.; 5 s.

  20′

A Catalogue Of Sounds

(1995 -)

13 solo strings (ensemble) and 1-13 string soloists

  70′ || recording

voice, books and FIRE II/4

(1996-98)

  Voices

60′

19’30” for the Morgan O’Hara project

(1997-98)

  Fl., e.hn., cl., tbn., vl., vc., cb., perc., pno.

Komposition für Streichquartett II

(1998-99)

  String quartet

  50’ || recording (1) || recording (2)

Nachklang

(1998-99)

  Foreword/minute’s silence for orchestra

5’

כֹּל

(Kol 1)

(1999-2000)

Fl., e.hn., cl., vl., vla., vc., cb., perc.

30′

  ב׳ כֹּל

(Kol 2)

(2000-01)

Voices, fl. e.hn., cl., 2 vl., 2 vla., vc.

60’

voice, books and FIRE II/5

(2001-03)

  Voices

55′

voice, books and FIRE III

(2004-05)

  Voices and instruments

70’ || recording

PRAHA: Celetná – Karlova – Maiselova

(2004-07)

  Voices, fl., hn., vl., vla., vcn., cb., perc., speaker and electronics.

60’ || recording

Ὄρος Μετεωρος. dramatisches fragment mit Aischylos und Euripides (Horos Metéoros)

(2008-09)

  Sop., 3 choir groups, 3 auloi, ob. da caccia, perc. and string trio

  50’03”

La Segunda Canción del Angel Desaparecido

(2011-13)

  Fl., bsst.hn., bssn., 2 perc., 2 vl., vla., 2 vc

  87’

Solo IV

(2013-14)

  low-pitched string instrument (premiered as ‘cello)

Solo V

(2013-14)

  Piano

45’ min.

– Solos I-V may be played together –

  


Notes
  • Currently, the voice, books and FIRE series remains unfinished. The final piece, voice, books and FIRE II/3, is due to be completed by 2019. The original score to voice, books and FIRE I however, remains lost.
  • The solo sections of the original score to A Catalogue of Sounds have been lost and the sketches are no longer extant. Parts 1-10 remain lost, whilst 11-13 have been recreated using fragments of the string ensemble parts. The published score features 4 violins, 5 violas, 3 violoncellos and 1 contrabass.
  • For the Solo series (currently I-V), any constituent parts may be played simultaneously. For example: Solo I+II+III or Solo II+IV+V.

                      


Discography

–appears in collections–

Donaueschinger Musiktage 1991

Orchestrola (1992)

Komposition für Orchester (I-V) »…Schwarzer Sand/Schnee…«  (38’45”)

  1. Äußerst langsam (11’35”)
  2. Rasch (6’23”)
  3. Äußerst langsam, quasi senza tempo (8’27”)
  4. Ziemlich rasch (4’18”)
  5. Äußerst langsam (7’57”)

Müller (sop.); Bamert (cnd.); Sinfonieorchester des Südwestfunks Baden-Baden

Wittener Tage für neue Kammermusik 1992

WDR (1992)

25 Items in Variations (ii)

R.E.J.C. (John Cage/Jakob Ullmann/ensemble recherche)

Maderna / Ullmann / Hespos

AHL-Classics (1996)

Komposition á 9 (Palimpsest)(28’57”)

Spreitz-Runfeldt (m.sop.); Müller-Goldbloom (cnd.); work in progress – Berlin

John Cage / Jakob Ullmann

HR-Musik (2007)

Komposition für streichquartett 2(34’44”)

Arditti quartet

–as featured composer–

Jakob Ullmann (portrait)

Wergo (1996)

  1. Komposition für streichquartett (23’47”)
    • Streichquartett des Ensemble UnitedBerlin
  2. Komposition für Violine (Symmetries on Aleph Zero 2) (13’43”)
    • Nicolaus Richter de Vroe (vln. & elec.)
  3. Disappearing Musics (34’19”)
    • ensemble recherche freiburg

A Catalogue of Sounds (1995-1997)

Edition RZ (2005)

  1. A Catalogue of Sounds (73’16”)
    • Ensemble Oriol Berlin
    • soloists: Ritts-Kirby (vln.); Renshaw (vla.); Kasper (vcl.)

voice, books and FIRE III

Edition RZ (2008)

  1. voice, books and FIRE III (70’21”)
    • Ensemble für experimentelle Musik 2006

Fremde Zeit • Addendum (1-3)

Edition RZ (2012)

Disc 1:

  1. Disappearing Musics (34’14”)
    • Staravoitava (fl); Serassis (cl.); Stadler (sax.); Sepsi, Csizmadia (vln.); Martin, Schulz (pno.)
  2. Solo I + II + III (40’42”)
    • McDolan (ob. cacc.); Vicente-Sandoval (bssn.); Schulz (org.)

Disc 2:

  1. Komposition für streichquartett 2 (47’26”)
    • Pellegrini quartet

Disc 3:

  1. PRAHA: celetná – karlova – maiselova (55’29”)
    • Flückiger, (vox.); Bösch (fl); Vicente-Sandoval (bssn.); Winkelman (vl.); Margulies (vla.); Fallowfield (vcl.); Gervais (cb., perc.); Schmidt (spkr.); Idrobo Arce (elec.)

Fremde Zeit • Addendum 4

Edition RZ (2013)

  1. Solo III für orgel (66’03”)
    • Hans-Peter Schultz (org.)

Compiled by Oliver Thurley

December, 2014

String harmonics, multiphonics and partials map {Processing}

double-bass-E1-string-harmonics-snip

There is some excellent research on performance techniques over at CelloMap.com on a variety of subjects, but the area of most interest to me lately has been string multiphonics. A criminally overlooked and beautifully fragile technique.
It seems a slightly murky area (a lot folk-lore, hearsay, speculation), but an interesting one that I hope people continue to plug away at. The two best resources I’ve found so far are Ellen Fallowfield and Thomas Resch’s aforementioned Cello Map project, and Seth Josel and Ming Tsao’s excellent new book The Techniques of Guitar Playing (2014; Bärenreiter, pp.118-24). Both map out the location of their partials in similar ways. Despite the different instruments the authors address, we are ultimately just dealing with a vibrating string and as such should not be too difficult to figure out…

double-bass-E1-string-harmonics

A recent composition of mine, yet another example of the porousness of certain borders (score .pdf, 15mb) for solo double bass uses quite a few multiphonics, and as part of the composing process I created a little Processing script which uses the Cello Map scheme. The script allows one to calculate and map out (theoretical) partials for a string of any tuning (my piece was initially going to feature some evolving scordatura but this was written out early on).

The benefit of coding this out that you can quickly generate a partial map of any tuning and as many partials as you like (though by default this is capped at 15, past then it gets tricky to find what you’re looking for). This becomes pretty helpful when searching for and identifying clustered sounding partials within multiphonics. It is worth noting however, that this is all fairly theoretical, and that real-world physics may not play as nicely on your string of choice…

You can find the script on my GitHub page. The script requires Processing, a free, open-source programming language.

My thanks to the Cello Map project for doing all the hard work on this and many other subjects.