Martian Gardens Episode 1132

LISTEN HERE — ANCHOR.FM PODCAST
Martian Gardens Episode 1132
Recorded at Max’s home studio,
Amherst, Massachusetts
December 14-15, 2022
Contact Max Shea: martiangardensmax@gmail.com 
(or just leave a comment below)
Radio4All archive (search “Martian Gardens”)

Hour 1

SINGLE PLAY
Olivia De Prato: May you dream of rainbows in magical lands (H.Y. Kim)
I, A.M. (various artists)
Artist Mother Project — New Works for Violin and Electronics
New World Records/2022
(for violin and electronics); violin: Oliva De Prato; recorded in Vienna, November 4, 2021; composer: Ha-Yang Kim; composed in Kraig Grady’s Centaur tuning system; composition year: 2021; time: 14:04

SET ONE
Eric Chasalow: Into Your Ears
Are You Radioactive, Pal?
Electroacoustic Music by Eric Chasalow
S
uspicious Motives Records/2015
electroacoustic music: Eric Chasalow; voice, words: Mario Davidovsky; word assemblage, processing: Eric Chasalow; Into Your Ears dedicated to Mario Davidovsky; composition year: 2004; time: 4:01

Juraj Kojs: selections from Florida Native Orchid DNA Sonified
a. Pogonia ophioglossoides (3:00)
b. Cyrtopodium punctatum (4:00)
c. Prosthechea chochleata (3:09)
Orchid Music
Neuma Records/2022
(sound installation based on the DNA sequence of ten Florida native orchid species); mapped sounds: a. voice samples: Juraj Kojs; b. typewriter samples; c. paper rustling/crumpling sounds; presented at the botanical gardens of Miami, 2020-2021; total selections time: 10:08

R. Weis: Our Cells Ourselves Our Homes, Part 1
Installed — Sound for Exhibitions
A mix of excerpts from five sound scores created for gallery/museum exhibitions
Wormhole World Bandcamp/2022
tape music: R. Weis; from an installation of Paul Ludick‘s art furniture on the theme of electromagnetism and mutation; premiere: Art et Industrie Gallery, New York City, 1990; selection time: 3:15

John Bischoff: Five Fragments #4
Surface

Artifact Recordings/2022
electronics: John Bischoff; recorded at the composer’s studio 1994-1995; time: 3:06

SINGLE PLAY
Aleš Friedl: selections from Otročarije — Scenes from Childhood
a. Zelini lampion (A Green Lantern) (2:14)
b. Modra reka Jangce (The Blue Yangtze River) (4:11)
c. Slovenia, od kod lepot tvoje? (Slovenia, where is your beauty from?) (3:23)
d. Jutranja megalica (Morning Haze) (1:48)
e. Regiment po cesti gre (The Regiment Goes by Road) (1:52)
Otročarije — Scenes from Childhood
Sazaz/2021
violin: Nadežda Tokareva; piano: Lovorka Nemeš Dular; recorded at the PianoRoom, Golnik, Upper Slovakia, 2020-2021; total selections time: 13:37

Hour 2

SET TWO
SIGMA Project: Bajo La Higuero (H. Vazquez)
New Mexican Music for Saxophone Quartet
Mode Records/2022
SIGMA Project (soprano saxophone: Andrés Gomis; alto saxophone: Ángel Soria; tenor saxophone: Alberto Chaves; bass saxophone: Josetxo Silguero); recorded at the Auditorium of the Profesional Música Rafael Frühbeck, Burgos, Spain, February 2022; composer: Herbert Vazquez; composition year: 2020; time: 12:50

James Mobberley: Dim Sum
a. Ashtrays at Sun Moon Lake (2:09)
c. Peaceful Sailing, Serene Waters (2:30)
d. Big Fat Smilin’ Buddha (1:51)
Mobberley Music 1 & 2 CD-R
James Mobberley/2009
(for Chinese flute, erhu, zheng, percussion); recorded by Music From China, Kansas City, Missouri, 2001; composition year: 1986; total time: 6:30

SET THREE
Music from the Shartse College of Ganden Monastery: Jigje kyi dagjug chenmo (excerpt)
The Grand Self-Empowerment of Yamantaka — Opening Section, with ritual orchestra
Tibetan Buddhism
Bridge Records/1989
umze (chant master): Ven. Lobsang Tanzin; recorded at Shartse Dratsang, Ganden Monastery, Mundgod, Karnataka, South India, February, 1987; excerpt time: 13:00 (of 31:10)

‘O’ Rang: Little Brother
Herd of Instinct

Hit It! Records/1997 (orig. The Echo Label/1994)
‘O’ Rang: Lee Harris and Paul Webb; instruments on Herd of Instinct: drums, percussion, vocals, harmonium, flute bass, organ didgeridoo, programming guitar, bass, synthesizers, melodica , Zurna, recorders; session musicians for Little Brother: cello: Emily Burridge; harmonica: Mark Feltham; saxophone, mandolin: Anthony Thistlewaite; guitar: Graham Sutton; percussion: Martin Ditcham; voicebox, percussion, guitar: Graeme Jones; vocals: Colette Meury; recorded at The Slug, London, UK; time: 9:27

SINGLE PLAY
Noah Creshevsky: Passacaglia*
Sleeping Awake
Open Space/2019
piano: Zuzanna Szewczyk Kwon; mezzo soprano: Megan Berti; text: John Donne, Holy Sonnet 10; electroacoustics: Noah Creshevsky; recorded at the composer’s studio, New York City; composition year: 2018; time: 9:07
*Dedicated to Benjamin Boretz; inspired by Boretz’s “The Memory of All That”

In memory of our friend Noah Creshevsky (January 31, 1945 – December 3, 2020)

Hour 3

SET FOUR
Jennifer Curtis & Tyshawn Sorey: Invisible Ritual V
Invisible Ritual

New Focus Recordings/2020
violin: Jennifer Curtis; piano, percussion: Tyshawn Sorey; principal recording: home of Randy Ezratty, New York City; engineering, mxing, mastering: Oktaven Audio, Mt. Vernon, New York; time: 10:44

Elizabeth Hoffman: Modus Nodus
Modus Nodus — Chamber Music 2002-03

Albany Records/2003
flute: Jayn Rosenfeld; violin: Curtis Macomber; cello: Christopher Finckel; recorded at the American Academy of Arts and Letters, New York City, January 2003; composition year: 2002; time: 11:47

SET FIVE
Olivia De Prato: Ageha.Tokyo (S. Young)
STREYA
New Focus Recordings/2018
(for amplified violin and electronics); violin: Olivia De Prato; recorded at EMPAC, Troy, New York; composer: Samson Young; composition year: 2008; time: 5:09

Yves Daoust: Impromptu 2
Docu-Fictions

empreintes DIGITALes/2022
(for piano, synthesizer, sampler, stereo fixed medium); piano: Brigitte Poulin; keyboard: David Cronkite; composition year: 1995; time:15:13

SINGLE PLAY
David Tudor + Composers inside electronics: Rainforest IV (excerpt)
Rainforest IV
Neuma Records/2022
Composers inside electronics: Paul DeMartinis, John Driscoll, Phil Edelstein, David Poyurow, Prent Rogers, David Tudor, Bill Driscoll; principal composition and schematics: David Tudor, 1973; Rainforest IV sound installation created during David Tudor’s residency at the Center for Music Experiment, University of California San Diego, February 2, 1977; excerpt time: opening 8:00 of 68:57

— FIN —

















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