Manorexia – Canaries in the Mineshaft (2011)

Live at the Whitney Museum NYC, as part of the JG Thirlwell Composer Spotlight.

JG Thirlwell- Laptop and compositions
Leyna Marika Papach – Violin
Elena Moon Park – Violin
Karen Waltuch – Viola
Felix Fan – Cello
David Broome – Piano
David Cossin – Percussion

Filmed and edited by Jeff Davidson


Arseny Avraamov – Symphony Of Factory Sirens (1922)

Arseny Avraamov – Symphony Of Factory Sirens (Public Event, Baku 1922)

Arseny Mikhailovich Avraamov (born Krasnokutsky, 1886, died Moscow, 1944) was an avant-garde Russian composer and theorist. He studied at the music school of the Moscow Philharmonic Society, with private composition lessons from Sergey Taneyev. He refused to fight in World War I, and fled the country to work, among other things, as a circus artist. Returning in 1917, he went on to compose his famous “Simfoniya gudkov” and was a pioneer in Russian sound on film techniques. Among his other achievements were the invention of graphic-sonic art, produced by drawing directly onto magnetic tape, and an “Ultrachromatic” 48-tone microtonal system, presented in his thesis, “The Universal System of Tones,” in Berlin, Frankfurt, and Stuttgart in 1927. His microtonal system predated the creation of the Petrograd Society for Quarter-Tone Music in 1923, by Georgii Rimskii-Korsakov.

Today, his most famous work is Simfoniya gudkov (Гудковая симфония, “Symphony of factory sirens”). This piece involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, the foghorns of the entire Soviet flotilla in the Caspian Sea, artillery guns, machine guns, hydro-airplanes, a specially designed “whistle main,” and renderings of Internationale and Marseillaise by a mass band and choir. The piece was conducted by a team of conductors using flags and pistols. It was performed in the city of Baku in 1922, celebrating the fifth anniversary of the 1917 October Revolution, and less successfully in Moscow, a year later. [source]












“By knowing the way to record the most complex sound textures by means of a phonograph, after analysis of the curve structure of the sound groove, directing the needle of the resonating membrane, one can create synthetically any, even most fantastic sound by making a groove with a proper structure of shape and depth”.

From “Upcoming Science of Music and the New Era in the History of Music” by Avraamov, published in 1916.















Arsenij Avraamov conducting “Symphony of the Factory Sirens” using two flaming torches (c.1923)

Franz Schubert – Ave Maria (1825)

“Ellens dritter Gesang” (Ellens Gesang III, D. 839, Op. 52, No. 6, 1825), in English: “Ellen’s Third Song”, was composed by Franz Schubert in 1825 as part of his Opus 52, a setting of seven songs from Walter Scott´s popular epic poem The Lady of the Lake, loosely translated into German.

It has become one of Schubert’s most popular works, recorded by a wide variety and large number of singers, under the title of Ave Maria, in arrangements with various lyrics which commonly differ from the original context of the poem. It was arranges in three versions for piano by Franz Liszt. [source]

Maria Callas – Vocal / Unknown – Piano













[Dedicated my father, who died in Tanzania 07.04.1995. Rest in peace]

Sofia Gubaidulina – The Canticle of the Sun (1997, rev. 1998)

Glorification of the Creator, and His Creations – the Sun and the Moon
Glorification of the Creator, the Maker of
the four elements: air, water, fire and earth
Glorification of life
Glorification of death

Sofia Gubaidulina’s 80th birthday in October 2011 generated much press coverage around the world, appropriately stressing the uniqueness and the variety of her compositional approaches. Both are in evidence on these recordings from Lockenhaus. “Canticle of the Sun”, recorded in 2010, revisits the celebrated piece that Gubaiduilina wrote in tribute to Mstislav Rostropovich on the occasion of his 70th birthday in 1997. Rostropovich’s famously sunny disposition was an inspiration, by association prompting Gubaidulina to set St Francis of Assisi’s “Canticle of the Sun” for choir. In this recording, Nicolas Altstaedt, one of the most accomplished cellists of his generation, takes on the highly expressive lead role. A further, timely, Lockenhaus connection here: as of this year, Altsteadt takes over from Kremer as the new director of the Lockenhaus Chamber Music Festival. [source]

Gidon Kremer: Violin
Marta Sudraba: Violoncello
Nicolas Altstaedt: Violoncello
Andrei Pushkarev: Percussion
Rihards Zalupe: Percussion
Rostislav Krimer: Celesta
Riga Chamber Choir Kamēr…
Māris Sirmais: Conductor

The Canticle of the Sun (1997, rev. 1998)
for violoncello, chamber choir, percussion and celesta
Dedicated to Mstislav Rostropovich
Recorded July 2010 at Lockenhaus Festival
ECM Records New Series 2256
Genre: Classical
Style: Experimental, New Music, Post-Modern

Canticle of the Sun revisits the celebrated piece that Gubaidulina wrote in tribute to Mstislav Rostropovich on the occasion of his 70th birthday.



Tōru Takemitsu – Requiem for string orchestra (1957)


When Igor Stravinsky was introduced to Toru Takemitsu in 1959, he was taken aback by the young Japanese composer’s frail, slight frame. “How could such severe music come have come from such a tiny man?” he is said to have wondered aloud. Just prior to their meeting, the elder composer had happened upon a recording of Takemitsu´s haunting Requiem, a piece for string orchestra composed in 1957, when Takemitsu was just 27 years old. [source]

Tōru Takemitsu (1930-1996). His 1957 Requiem for strings orchestra attracted international attention, led to several commissions from across the world and established his reputation as one of the leading 20th century Japanese composers. He was the recipient of numerous awards and honours and the Toru Takemitsu Composition Award is named after him.[source]

Toronto Symphony Orchestra

Conductor: Seiji Ozawa

[Inspired by Ronnie Rocket, thanks a lot]