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

"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"








































Saturday, October 22, 2016

“Invisium Vertice” for Saff B Flat Clarinet (or) C Trumpet

“Invisium Vertice” for Saff B Flat Clarinet (or) C Trumpet



Thanks to Danaher Corp.  


Two performances.  

Both Instruments.  

January 16th at 19 Reade Street Theater

"Testent". The Recording.


Extended Orchestra refers to an expansion of instrumentation beyond the traditional orchestral modicum. In this piece it involves adding a prescribed number (in this performance 18) of non-traditional orchestral instruments. While the score for the instruments is carefully notated, the instrument selection is left up to the key stakeholders of the performance.

"Form and referent coincide, and response rarely goes beyond the initial frisson. In creating a score of this magnitude, it is not the immediate, visceral reaction but the critical reception, the work’s potential to generate independent thinking, that matters.

By going back to timeless archetypes, he bypasses the slag heap of historicism and yokes the orchestra to a heavy sense of time, far from the everyday and the customary.

It does so, however, without falling prey to the transcendental consolations of the sublime that serve to empower the viewer at the expense of introspection. This music is resolutely opaque...

...Smith is not shy about seeing himself as something of a traditionalist, as his strategic deployment of outmoded forms makes plain—and yet the dynamic quality of his relationship with history is clearest when considered in terms of his unconventional choices in instrumentation."



- Alexander Wong, "The Japan Times"

Listen on SoundCloud:

https://soundcloud.com/bil-smith/testent-for-extended-orchestra

"Togus" for Two Sopranos and Mezzo Soprano



"Togus" 

for Two Sopranos and Mezzo Soprano

2013-2015

Bil Smith Composer

Commissioned by Harrison Hayes, LLC