LISTEN HERE — SPOTIFY PODCAST
Martian Gardens Episode 1193
Recorded at Max’s home studio,
April 30, 2024
Contact Max Shea: martiangardensmax@gmail.com 
(or just leave a comment below)
Radio4All archive (search “Martian Gardens”)

Hour 1

SET ONE
Robert Carl: Splectar
Infinity Avenue
Neuma Records/2024
(for electric guitar with Max programming); electric guitar, Max program design: Matt Sargent; composition year: 2023; time: 13:31

Kamala Sankaram: 5 Rasas
Crescent
Neuma Records/2023
voice, electronics: Kamala Sankaram; violins: Andie Tanning, Ludovica Burtone; viola: Joanna Mattrey; cello: Mariel Roberts; recorded in New York City, November 19, 2022; time: 10:23

SINGLE PLAY
Salvatore Martirano: Four not Two
CDCM Computer Music Series Volume 22
A Salvatore Martirano Retrospective 1962-1992
Centaur Records/1995
(for the yahaSALmaMAC MIDI orchestra); Sound and Logic computer program (SAL), DX7 keyboard: Salvatore Martirano; Zeta violin: Dorothy Martirano; recorded live at New Music America, Philadelphia, October 10, 1987; composition year: 1987; time: 12:44

SET TWO
Morton Feldman: Durations 2 (Realization 1)
Complete Music for Cello and Piano
Mode Records/2024
cello: Stephen Morotto; piano: Marilyn Nonken; recorded at the Concert Hall of EMPAC*, Troy, New York, December 2018; composition year: 1960; time: 4:09
*Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute

Charles Wuorinen: Six Pieces (selections)
I. (1:30)
II. (2:55)
III. (1:31)
IV. (3:44)
Works for Violin and Piano (1969-1983)
Bridge Records/1988
violin: Benjamin Hudson; piano: Garrick Ohlsson; recorded at RCA Studio A, December 1986; composition year: 1977; total selections time: 9:40

Hour 2

SET THREE
Natalia Cappa: Mujer Frutal (J.D.V. Salvagno)
Una (various composers)
New Focus Recordings/2024
(for solo voice); soprano: Natalia Cappa; texts: Teresa “Kuky” Leonardi Herrán (Posibilidad and Mujer equilibrista con joroba); composer: Jorge Diego Vázquez Salvagno; composition year: 2023; time: 8:08
Oulipo movement

Luciano Berio: Sequenza III
The Great Works for Voice
Mode Records/1995
(for female voice); soprano: Christine Schadeberg; text: Markus Kutter; recorded at Sheppard Hall, CCNY, July 7, 1995; composition year: 1966; time: 9:21

SET FOUR
J.P.A. Falzone: Zipf’s Law IV
A Curving Abacus
New World Records/2024
(for winds, percussion, piano, and strings); Ostrava’s New Orchestra, conductor: Owen Underhill; recorded at Triple Hall, Karolina, Ostrava, Czech Republic (Ostrava Days Institute and Festival 2017), September 2, 2017; composition year: 2017; time: 11:05
Zipf’s Law

Bill Alves: The Terrain of Possibilities
The Terrain of Possibilities
Electronic Music Foundation/1997
computer music: Bill Alves; sound sources in just intonation: Indonesian metal instruments, Korean bronze chimes, tam-tam, Western percussion instruments, piano, and voice; composition year: 1987; time: 6:57

Wendy Carlos: Beauty in the Beast
Beauty in the Beast
East Side Digital/2000 (orig. Audion/1986)
digital synthesizers: Wendy Carlos; recorded at the composer’s studio, 1986; time: 3:57

SINGLE PLAY
Elaine Barkin GamÉlange (excerpt)
ee2
A Sound Album by Elaine Barkin
Open Space/2000
harp: Sue Carole DeVale; gamelan players: Michael Bakan, Elaine R. Barkin, Wanda Bryant, Lindsay Clare, Alice Hunt, Jay Keister, Grace M, David Martinelli; recorded at UCLA, composition years: 1992-1993; excerpt time: 8:00

Hour 3

SINGLE PLAY
Lee Hinkle: Impulse Control Mvt. II (E. Ziporyn)
Modern American Percussion Concerti (Wright/Stucky/Ziporyn)
Ravello Records/2024
(for drum set and wind ensemble); drum set: Lee Hinkle; Penn State University Wind Ensemble, conductor: Tonya Mitchell-Spradlin; recorded at the Esber Rehearsal Hall, Penn State School of Music, State College, Pennsylvania, April 2023; composer: Evan Ziporyn; composition year: 2019; time: 15:14

SET FIVE
Emma Margetson: Tick
Contemplations
empreintes DIGITALes/2024
(for stereo fixed medium, sound sources: ticking metronome); composed at the electroacoustic Music Studios of the University of Birmingham, UK; premiered at Beast Feast: Concert 6, Elgar Concert Hall, Bramall Music Building, Birmingham, April 20, 2016; time: 6:23

Jorge Antunes: Invocação em defesa da máquina
I. A máquina nao desumaniza a musica (2:35) The Machine Does not Dehumanize Music
II. Reflexão (1:03) Reflection
III. A musica humaniza a máquina (5:13) Music Humanizes the Machine
In Defense of the Machine
Pogus Productions/2013
(for four percussionists, four metronomes, and electronic sounds); Grupo de Percussão do instituto de Artes da UNESP (percussion: Adriano Letzel; Arturo Uribe; Bruno Cabrera; Catarina Percinio; Clenio Henrique; Rosangela Rhafaelle; Rubens Lopez; Sergio Couthino); recorded at Teatro Maria De Lourdes Sekeff of Art Institute, University of São Paulo; March 27, 2010; composition year: 1968; total time: 9:41

SET SIX
Laurie Anderson: O Superman (live)
United States Live
Warner Bros./1991 (orig LP boxed set/1984)
voice, microphone stand, pillow speaker, electric violin, violin bows, harmonizer, vocoder, toy saxophone: Laurie Anderson; saxophone: Bill Obrecht; Prophet synthesizer: Peter Gordon; recorded at the Brooklyn Academy of Music, New York City, February 7-10, 1983; time: 11:05
aka. O Superman (for Massenet)

Peter Gordon: Lullabye
Star Jaws
Lovely Music, Ltd./2008 (orig. 1977)
alto saxophone, Poly-Moog synthesizer, piano: Peter Gordon; vocals: Jane Sharp; lyrics: Kathy Acker; recorded at the Center for Contemporary Music, Mills College, Oakland, September 1977; time: 7:42

— FIN —