Sunday, June 25, 2017
Saturday, June 17, 2017
Friday, June 16, 2017
"Blue Carpet Frenzy Pared From The Edges" (2011)
For Three (3) String Quartets
Bil Smith Composer
Commissioned for Three String Quartets
Listen on SoundCloud:
"Withdrawal On Paths To Exceed"
For Oboe, Cello, Fender Rhodes Piano and Bass Trombone
Bil Smith Composer
Commissioned by SWF Corp.
Monday, June 12, 2017
Friday, June 9, 2017
Thursday, June 8, 2017
Tuesday, June 6, 2017
Sunday, June 4, 2017
Saturday, June 3, 2017
| Section of a single page from the score "Partitions: Cambics Alive in Sensient Amplules"|
|Single page from the score from "Partitions: Cambics Alive in Sensient Amplules"|
|Page from the "Performance Notes" of "Partitions: Cambics Alive in Sensient Amplules"|
|Single layer of 17 from a single page from the score from|
"Partitions: Cambics Alive in Sensient Amplules"
|Image from Layer 3/ Page 16 of Performance Notes. Total of 17 layers.|
As composers, we always seek to find that unique realization of our work. John Cage was frequently critical of performances of his work (albeit aleatoric/chance/indeterminate) simply because the performers (and in one case, the NY Philharmonic) did not read his instructions. While many find it ironic, he was incredibly specific and demanding of the performers.
What so many performers/composers/critics do not grasp is that just because we utilize a different lexicon (musical language), does not suggest that we are not acutely aware of what is expected in the performance.
|Image layer 12/ 39% Opacity of |
Page 1390 of the Performance Notes
In Darmstadt in 2010, I watched Brian Ferneyhough drive performers to exceptional lengths to interpret his work precisely. Brian is a nice man, kind, exceptional thinker; yet incredibly in tune with what he composes and expects precision in the execution of his work. Brian stays within the five lines, but let's all understand what he does within those five lines (the staff) has never been approached prior to him. No one has written in the manner he does. He has integrated combinatorial mathematics, multivariate distributions, and variational inference into his compositional syntacticon...no, no one has attempted this before. He is a defining, disruptively inspiring innovator. He's what we define as a KIL...'Key Innovation Leader.'
Perhaps what he has done within the five lines is more defining than those of us who work outside the five lines. I suppose you all guess why I use Brian to make a point here.
|Final page of score part for Vibraphone (excerpt from my article forthcoming on 'Medium'|
If we have a different language; a different expression of intent; something different than the stave/staff of those magnificent five lines, do not think we throw decisions and execution to the wind....quite the opposite.
"Casual Fermion System" for Solo Piano.
Bil Smith Composer
March 15, 2015
The 59th Session of the Commission on the Status of Women
The United Nations, New York, NY
This work for piano is inspired by the Lagrangian formulation of classical notational field theory The pianist with instruction: 'a piacere', mimics the dynamics on a causal fermion system that is described by a variational principle defined as follows.
In contemporary physical theories regarding hyper-notational systems, the notion of space-time refers to a Lorentzian manifold (M,g). This means that space-time is a set of points enriched by topological and geometric structures cast into a syntactic score arrangement .
The organization of the meters is closely aligned with the organization of tempos.
In the context of causal fermion systems, space-time does not need to have a manifold notational structure. Instead, space-time M is a set of operators on a Hilbert space (a subset of \mathcal F).
This implies additional inherent structures that correspond to and generalize usual objects on a space-time manifold in this score represented the vibration sequencing of the color bars on the bottom of the score.
Friday, June 2, 2017
“Eseltelle Genève” for 2 Orchestras
In this work the reduced orchestral landscapes demand the large ensembles (Orchestras) to achieve a result that lies at the higher end of acoustical preoccupation. As I am a‘soundcologist’ surrounded in an environment that is constantly accelerating in a perception of time, I advocate pausation…in the emptiness and silence we encounter ourselves …an absence of sound, and thought.
|Bil Smith Composer|