new & recent releases on engraved glass / . point engraved editions:
eg.p06 - available now
Julia Holter - 'celebration'
Bars in Afternoons
recorded in Paris, France, December 2008
and Los Angeles, CA 2009
La Celebraci=F3n
recorded in Los Angeles, CA April 2010
and Orange County, CA July 2010
Harmony 17 (edit)
recorded at Union Station
Los Angeles, CA August 2009
field recordings - contemporary composition - avant song from this young am=
erican composer & sound artist
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Jez riley French - 'dawn chorus - north & south banks'
egcd034
ltd edition taiyo yuden cdr mounted on art card
*limited edition release featuring recordings made along the banks of the r=
iver Humber in east yorkshire. The recordings were made for a durational pe=
rformance as part of 'seeds & bridges' 2010 & the cd comes mounted on the a=
rt-card flyer for the event. For this release I have composed a 64 minute s=
ingle piece using the unprocessed recordings - mostly recorded on the north=
bank near to Flaxfleet *
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sonata for clarinet & nodar'
Jez riley French (field recording / composition)
Joana Silva (clarinet)
Luis Costa (field recording)
egcd035 / nodar002
(a joint release between engraved glass & edi=E7=F5es nodar)
in the last days of my residency at binaural (Nodar, Portugal) an idea came=
from a series of chance occurrences. Luis spotted Joana in the village & k=
new she was a clarinet player & that she had come from Lisbon to visit fami=
ly for the summer. In the days before, myself & Luis had talked about recor=
dings of instruments & singers in the natural environment - the roots of fi=
eld recording. A decision was made to ask Joana if she would be willing to =
play her clarinet whilst walking slowly along a path that swept around the =
curve in the Paiva river that runs through Nodar. Joana, still at school, s=
till learning the instrument, agreed & a day was arranged.
I think it's fair to say that what took place was truly a unique moment. Th=
is was not a 'perfect' realisation of a score that had been rehearsed. This=
was not a seasoned performer with a vast experience of contemporary compos=
ition playing a piece they knew well. Instead what was captured was a young=
player truly exploring the idea for the piece. There was no detailed instr=
uction to her in regards to overall duration or the space between the playe=
d sections. This, therefore, is a composition of a moment.
Of course, the very nature of field recording & one of it's charms, is that=
it is a gesture to capture an unpredictable environment. Given the rural n=
ature of Nodar village some aspects of everyday village life were bound to =
make an appearance. It was another chance occurrence that at the time we we=
re recording someone decided it was time to trim the overgrowth on their pl=
ot of land with one of the loudest machines invented for the purpose. As th=
is sound went on & on my thoughts went from frustration to resignation - we=
were, after all, capturing an aspect of life as it was happening. In compo=
sing the final piece it would have been possible to leave this intervention=
of modern rural reality out. However doing so would have also removed a me=
morable part of the experience.
It is the emotive capture of this day, this moment that motivated the compo=
sition drawn from the recordings made that day & the decision to create thi=
s release.
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also, do take a look at the free to view online or download pdf arts zine t=
hat engraved glass is now issuing every month:
TRISTESSE ENGRAVED
three issues so far
tristesse-engraved.blogspot.com
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