Tuesday, May 31, 2016

"Libidio Promescuses Vagistal" (2012)



"Libidio Promescuses Vagistal" (2012) Bil Smith Composer.
A Live recording performed May 11, 2013 at Merkin Hall, NYC by members of the Juilliard Ensemble, The New York Philharmonic and Ensemble Blue.
This work is a commission from a private donor and Actavis, Inc. I thank both for making this work possible.
On SoundCloud:

"Emblematic Suctusstupratio" for Orchestra (2011-2014) Bil Smith Composer.



"Emblematic Suctusstupratio" for Orchestra (2011-2014) Bil Smith Composer.
This commission from a private sponsor was dictated by a strict adherence to a "Prescribed Multidimensional Network."
Recording:
The pertinacious intent was to create a redundancy abject diverse procedural element. In the score, there is a complexity represented through moments of extreme sonic and physical activity as well as a a high degree of timbral diversity. In consideration of the score and the performance, I wanted to portray an enormous illuminated painting, unsettled, however with an intense detail.
As I composed this work, there nearest to me was a dark haired woman with a white laboratory coat, (She stood on the foam flecked lawn on the Duke Mansion); Twelve (exactly) actors resting between takes, and a woman with a widow's empty face, the mother of someone I guessed. The last of these witnesses to my composition was a man of about thirty...naked but for his tanning trunks.
In the central development of this work, the upward lines and the blistered clusters, with an uneasy friction, push against sonic gravity to complete the gestural leaps of ambiguity.
My 'temptron' of tastaglium elevation. (vena amoris)
Written at Venusberg, Vermont, July 4, 2014.

Monday, May 30, 2016

"Merely Musculature" for Horn and Bass Oboe


Compaction Music: "Georges Perec" for Prescript Chamber Ensemble (Oulipo Posentante) Bil Smith Composer


In 2010, I was approached by a unique individual by the name of Bernard Charron (not sure it was his real name). He asked me about my music and we moved onto the subject of literature and writing. This led to a lengthly discussion about the Oulipo and our respective opinions about their oeuvre. Some months later he contacted me and asked if I would be interested in writing short musical 'vingettes' as he described them, mimicking the Oulipian aesthetic utilizing my "compaction music" techniques.
About the Oulipo

Oulipians innovate upon the architecture of genres not to"blur," "transgress," and "unfix" boundaries, but to grasp a genre's potential. The Oulipian notion of
poteniality goes in two directions: on the one hand it
attempts to build structures in a systematic and scientific
manner; that which is potential is that which does not yet
exist. On the other hand, Oulipians strongly believe that
potential and inspiration are codependent. By acting
systematically and scientifically Oulipians focus and
clarify, not "blur," their approach to genre
transformation.


What sort of society could bind together Jacques Roubaud, Italo Calvino, Marcel Duchamp, and Raymond Queneau—and Daniel Levin Becker, a young American obsessed with language play? Only the Oulipo, the Paris-based experimental collective founded in 1960 and fated to become one of literature’s quirkiest movements.


An international organization of writers, artists, and scientists who embrace formal and procedural constraints to achieve literature’s possibilities, the Oulipo (the French acronym stands for “workshop for potential literature”) is perhaps best known as the cradle of Georges Perec’s novel A Void, which does not contain the letter e. Drawn to the Oulipo’s mystique, Levin Becker secured a Fulbright grant to study the organization and traveled to Paris. 

He was eventually offered membership, becoming only the second American to be admitted to the group. From the perspective of a young initiate, the Oulipians and their projects are at once bizarre and utterly compelling. Levin Becker’s love for games, puzzles, and language play is infectious, calling to mind Elif Batuman’s delight in Russian literature in The Possessed.


In recent years, the Oulipo has inspired the creation of numerous other collectives: the OuMuPo (a collective of DJs), the OuMaPo (marionette players), the OuBaPo (comic strip artists), the OuFlarfPo (poets who generate poetry with the aid of search engines), and a menagerie of other Ou-X-Pos (workshops for potential something). Levin Becker discusses these and other intriguing developments in this history and personal appreciation of an iconic—and iconoclastic—group.






"Saracta Manufactory; A Left Zygomatic Arch" for Solo Situationist Soprano." (2012) - The Performers and Performances



"Saracta Manufactory; A Left Zygomatic Arch" for Solo Situationist Soprano." (2012)

Amanda DeBoer Bartlett. Soprano.  Performed November 15, 2012


"Saracta Manufactory; A Left Zygomatic Arch" for Solo Situationist Soprano." (2012)
Anna Netrebko. Soprano. Premiere Performance.  June 2, 2012
"The more types of empirical evidence supporting the idea that composers intuitions about hypothetical scenarios are not especially well grounded, the more general pressure there is against those who think composer's intuitions about such scenarios have special epistemic merit. 


Purist extremism on either side seems unwarranted: Almost everyone would agree, that composers are subject to many of the same epistemic vices as everyone else in some respects and have some special skills in other respects. 

So the question becomes: What are the boundaries of compositional expertise? I believe that those boundaries might be narrower than one would have thought."- M. Ades

"In 'Saracta', it may be that the performer, having resisted the idea that the intimate combination of free verse, traditional notation and unusual typography could be coded, now resists the idea that the code could be seriously put into doubt." 

- Amanda DeBoer Bartlett

"Against the formless continuum of life, I posit the need for radical discontinuity; against the false modesty of finitude, pleading for the mathematical infinity of everyday situations; against the lure of ultraleftism, this music vindicates the dilettante Sopranista."

-Anna G. Smith


Guided by a small set of fundamental questions concerning the nature of the voice, the event, the subject, and truth, I push to an extreme the polemical force of lyrical nomenclature.
























Rally


Sunday, May 29, 2016

"Crater 30" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 30"

For Soprano Voice

A WET (Words, Events and Text) Score

Commissioned by BNP Paribas

For the opening of the BNP Paribas Open

Indian Wells, CA


March, 2016

Saturday, May 28, 2016

"Crater 38" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 38"

For Soprano Voice






A WET (Words, Events and Text) Score

"Crater .002" For Soprano Voice A WET (Words, Events and Text) Score


"Crater .002"

For Soprano Voice



A WET (Words, Events and Text) Score

Commissioned by BNP Paribas

For the opening of the BNP Paribas Open

Indian Wells, CA

March, 2016









"Crater 32" For Soprano Voice A WET (Words, Events and Text) Score Commissioned by BNP Paribas



"Crater 32"

For Soprano Voice


A WET (Words, Events and Text) Score



Commissioned by BNP Paribas



For the opening of the BNP Paribas Open



Indian Wells, CA



March, 2016







"Crater 34" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 34"

For Soprano Voice

A WET (Words, Events and Text) Score

Commissioned by BNP Paribas

For the opening of the BNP Paribas Open

Indian Wells, CA

March, 2016

"Crater 40" For Soprano Voice A WET (Words, Events and Text) Score



"Crater 40"


For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 47" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 47"

For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 3" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 3"

For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 10" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 10"

For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 5" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 5"

For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 1" For Soprano Voice A WET (Words, Events and Text) Score


"Crater 1"

For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 8" For Soprano Voice A WET (Words, Events and Text) Score




"Crater 8"


For Soprano Voice

A WET (Words, Events and Text) Score

"Crater 2". For Soprano.


Crater 2

For Soprano Voice

A WET (Words, Events and Text) Score

"Primexa" A WET Score for Oboe, Soubrette, Lyric Soprano, Spinto and Contralto Tessitura









Disruptive New Instruments at Laboratorie New Music

Eva Kingma Contrabass Flute Coming To Laboratorie New Music in January, 2016
Thanks to a kind and generous donation to Laboratorie New Music, we will be acquiring several new, and disruptively innovative musical instruments.  Several days ago we announced the acquisition of the Piccolo Saxophone from Benedikt Eppelsheim to be delivered in February, 2016.


Benedikt Eppelsheim Piccolo Saxophone Arriving in February, 2016
Thomas Inderbinen's Tricky.  One of LNM's Current Portfolio Instruments

In addition, we announce the acquisition of the Eva Kingma Contrabass Flute which will be delivered in January, 2016.  

Even more exciting is a special new project with Eva...one that will create a new Uber Sub-Contrabass Flute;  A new instrument which will redefine the lowest spectrum of the instrument. More to come...


"Angel City Insider" with Thundercat (The Preview)

Thundercat


"Angel City Insider"

Bil Smith & Thundercat



The Preview On Soundcloud:

"Synvisc" for Violin, Viola and Cello



"Synvisc"

For Violin, Viola and Cello

Bil Smith Composer

With Kind Support From Acer, Inc.








"Emblematic Suctusstupratio" for Orchestra (2011-2014) Bil Smith Composer. New Recording on Laboratorie New Music



"Emblematic Suctusstupratio" for Orchestra (2011-2014) 
Bil Smith Composer.
LISTEN on SoundCloud:
This commission from a private sponsor was dictated by a strict adherence to a "Prescribed Multidimensional Network."

The pertinacious intent was to create a redundancy abject diverse procedural element. In the score, there is a complexity represented through moments of extreme sonic and physical activity as well as a a high degree of timbral diversity. In consideration of the score and the performance, I wanted to portray an enormous illuminated painting, unsettled, however with an intense detail.
As I composed this work, there nearest to me was a dark haired woman with a white laboratory coat, (She stood on the foam flecked lawn on the Duke Mansion); Twelve (exactly)actors resting between takes, and a woman with a widow's empty face, the mother of someone I guessed. The last of these witnesses to my composition was a man of about thirty...naked but for his tanning trunks.
In the central development of this work, the upward lines and the blistered clusters, with an uneasy friction, push against sonic gravity to complete the gestural leaps of ambiguity.


My 'temptron' of tastaglium elevation. (vena amoris)
Bil Smith Composer, written at Venusberg, Vermont, July 4, 2014.

Friday, May 27, 2016

L'impossible, Clavicorde Bolcheviste. Bil Smith Compositeur




"Fetishistic Splits" (see Zizek) Bil Smith Composer



Zizek talks about fetishistic splits, in which subjects – especially late modern subjects  (The Clavichord)– has specific knowledge but behave as if they don’t. 

This dynamic is one side of the “what counts as a belief” coin for Zizek, who would insist that beliefs that don’t affect action are in a sense not “genuine” beliefs. 

The other side of the coin is that suppressed beliefs which do affect action are real beliefs, even if they’re hard to fit into traditional epistemological frameworks because they’re inaccessible to the subject...hence, the clavichord.

Definition of the Day...

"Compositional Multimodality ... in the broadest sense, composition which contain a multitude of semiotic modes. 

Multimodal scores call for new systems of analysis proficient in realizing and describing the rapport between expressive modes."