"Royalist Strongholds" for Oboe, Bass Clarinet, Trumpet, Trombone, Violin and Double Bass

"Royalist Strongholds" 

for Oboe, Bass Clarinet, Trumpet, Trombone, Violin and Double Bass

Bil Smith Composer

Commissioned by Lafarge

Published by LNM Editions

Link To Full Score PDF

https://drive.google.com/file/d/1ZXBzh0XyBpe3UGWuY0s1MHi_zD5amcjl/view?usp=sharing

"The Few Slender Feet of U.S. Sovereignty"

"The Few Slender Feet of U.S. Sovereignty"

For Cornet, Xylophone & Baritone Guitar

Bil Smith Composer

Commissioned by Alitalia

Link To PDF Score

https://drive.google.com/file/d/1PT1rEZH4qeVTA_cy3Ah7JVQJVhQq67bD/view?usp=sharing

"Turn In The Labyrinth of Time” For Trumpet. Bil Smith

 

"Turn In The Labyrinth of Time”  

For Trumpet

Bil Smith

2022

Published by LNM Editions

"ROW BOANITINININ" for Recorder. Bil Smith

ROW BOANITINININ

Amid the explosive ebb and flow there are fleeting moments of relative calm. "Row Boanitininin", with its striated washes of sound, echoes the slick sheen of briny tide pools. Here, I, Bil Smith and Penone are at our most abstract and revelatory, where the forms of the waves are given over to the caprice of visual complexity.  — at Laboratorie New Music Studios.

An Ashbery poem often elides logic while slipping gracefully between the erudite and the vernacular. In the slippage, an otherwise unattainable, unsayable truth can appear. In his few verbal statements on his work, Willem de Kooning often  remarked on the importance of glimpsing and that his paintings were attempts to fix the act of a glimpse—in other words, to destabilize the static object of a painting by putting time back into it. He achieved this by covering and recovering the canvas quickly, scraping it down at the end of each day and starting from the traces, the stains, on the next.

 

"Vibrave" for Guitar. Bil Smith Composer

 

"Dark Matter Facticity." For Flute, Oboe, Clarinet, Sax and Percussion.

"Dark Matter Facticity"

For Flute, Oboe, Clarinet, Sax and Percussion

The ‘orchestration of futurity’ that will allow ‘the future of composition to be thought of

as a game of chance’ brings into play a set of assumptions whose provenance is a bizarre mix of stereotyped curves, flying bombs, and kicking horses. 

Here probability figures not as incomplete knowledge, but as a supplementary construction that requires a ‘leap of faith’—a ‘cocktail’ of knowledge and generic idealization that is necessary in order to make indeterminacy go ‘live’ as an effective machine-part.