Petrified, for cello & live electronics

Following-up on a great 2022 concert, Timothy Gill and David Gompper recently released the album Exchanges on Albany Records. They included my composition Petrified, for cello & live electronics (link to score & Max patches).

I love how the amazing Timothy Gill made the interpretation his own. He really contributed his original creativity in the three improvised cadenzas.

This work fits in the long tradition of compositions for cello and electronics. A classic one is Kaija Saariaho's Petals for Solo Cello and Electronics (1988). Listen here to a recording by cellist Madeleine Shapiro on Albany Records.

Brian Ferneyhough composed Time and Motion Study II for cello and live electronics (1973-76). The piece uses tape delays and ring modulation, very much in the tradition. Here is a recording showing the score.

Dai Fujikura's The Spirit of Beings is composed for cello and fixed electronics (backing track). Here is a live recording.

Composer Karlheinz Essl likes to perform the live electronic component of his works. Here, you can see him play Sequitur IV for cello and live-electronics with cellist Tom Flaherty.

George E. Lewis composed Not Alone for cellist Seth Parker Woods. Here is a live version of this piece for cello & interactive electronics.

For more recent repertoire, check out the pieces for cello & electronics composed for the wonderful cellist Marie Ythier: Le geste augmenté. The album is a collection of compositions by Alireza Farhang, Antonio Juan-Marcos, Aurélien Maestracci, Vittorio Montalti, Núria Gimenez-Comas, and Jean-François Ducher.

Comments

Popular posts from this blog

Max for Live: Extreme Time Stretching with Spectral Stretch

A Free Tutorial on Spectral Sound Processing Using Max/MSP and Jitter

GroundSwell 2020 Emerging Composers Competition