SOUND

Samtak (excerpt) by Ha-Yang Kim 2006 (mp3, 8 MB)

Samtak, written after a period of solitude and observance, is scored for amplified scordatura cello and metal percussion which pits the hard juxtaposition of the contrasting poetic personalities of the instruments, specifically in regards to timbre and register - the sonorous earthy dark lyrical voice of the cello (the duende) with the clear celestial brilliance of metal instruments (including three large Balinese gongs). Composed of two sections, the voices steadily maintain their own independent character, and through various interlocking devices and polymetric patterns, retain a complementary union.

From Ama, a cd of music by Ha-Yang Kim on Tzadik. Click here to purchase.

 

Kebyar Untai (excerpt) by Nathan Davis 2005 (mp3, 9 MB)

Kebyar Untai is scored for amplified cello and hammered dulcimer, tuned in microtones and partially prepared with objects between the strings. It is cast in two large sections, each introduced by a kebyar and developing its distilled material. A kebyar (literally "lightning" in Indonesian) is a structure in Balinese gamelan music distinguished by explosive unison passages. Many of the gestures are conceived as persistent actions attempting to overcome or smooth a resistance.

 

Oon (excerpt) by Ha-Yang Kim 2004 (mp3, 5 MB)

Inspired by nature and elements of Balinese and Karnatic music, the cello and percussion weave their voices together through reoccurring cyclical rhythms and motifs, creating a narrative journey to satori in three seamless sections. A sensational visual and aural feast of sounds and instruments which includes large Javanese gong, microtonal glockenspiel, battery of various drums, cup gongs, and amplified cello with stomp box effects.

From Ama, a cd of music by Ha-Yang Kim on Tzadik. Click here to purchase.

 

Sotong by Ha-Yang Kim 2005 (mp3, 10 MB)

Originally scored for theatre, this piece (whose title means “communication” in Korean) is composed of an ostinato of looping layers upon which the cello and metal percussion instruments exchange tender melodic material.

 

Cant by Matt Tierney

mvt. 1 (mp3, 4.8 MB)

I based Cant almost exclusively around the non-pitched yet hazy intonation of the bells and pipes, hovering somewhere around the "acoustic" scale of B or F#. The cello’s III and IV string are retuned to F# and B to make full use of the sound of the open strings and the natural harmonics, adding to the unstable and fragile character of much of the piece. The title signifies the attempt to deviate from a plane, a thrust that creates an oblique surface, a unified form to extreme juxtapositions. - from a note by Matt Tierney

 

Diving Bell (excerpt) by Nathan Davis 2002 (mp3, 4.6 MB)

Diving Bell invites the listener to delve deeply into the sound of the humble and magnificent triangle. By striking the triangles at different points and with different materials, and by using a handheld microphone, I extract and re-sculpt single overtones that are present in the overall sound of the instruments, hidden sounds that are normally only apparent when one holds the triangle up to their ear, like a tuning fork. With the help of tape delay modeling software, I layer these rich overtones in a structured improvisation.

From Memory Spaces, a cd of music by Nathan Davis. Click here to purchase.

 

Lense (excerpt) by Ha-Yang Kim 2003 (mp3, 4.9 MB)

Lense is for solo amplified cello with wah wah effect pedal. Using a myriad of extended string techniques, this piece takes the acoustical phenomena of beating string vibrations as a point of departure for an improvisatory sonic landscape which explores the inherent complex lushness and timbral variety of the instrument.

From Ama, a cd of music by Ha-Yang Kim on Tzadik. Click here to purchase.

 

Like Spinning Plates by Radiohead (mp3, 5.3 MB)

The British band Radiohead combines great songwriting with innovative production, using new and older analog technology to create a sound environment for their music. In our cover of Like Spinning Plates we use loopers, wine glasses, and whirly tubes to further develop this lush sound world. - O.A.

 

Ebene 3.3 by Stefan Poetzsch 1997 (mp3, 3.7 MB)

Ebene 3.3 (from Walking for dancer and two musicians) invites cello and percussion to improvise freely over a shimmering curtain of exuberant viola sounds, prerecorded and electronically processed. - O.A.

 

for a lost stone (excerpt) by Lei Liang 2002 (mp3, 4.7 MB)

In preparing for a lost stone, Nathan and Ha-Yang showed me their collection of rock instruments, stone plates harvested from a river nearby their former residence in Vermont. For me, the stones are magical. It requires only the touch of our hands to “resurrect” the sounds embodied in them. And when they sing, all others hush to listen. This piece is written in memory of one of their most beloved rocks, an ageless friend sadly broken during travel - from a note by Lei Liang

 

Six Japanese Gardens by Kaija Saariaho 1992 (mp3, 3 MB)
for solo cello and electronics, Mvt 3

Six Japanese Gardens is a collection of impressions of the gardens I saw in Kyoto. Each of the six parts gives a specific look at a rhythmic material, including complex polyrhythmic or ostinato figures and purely coloristic materials. The percussion is extended with the electronic part, in which we hear nature’s sounds, ritual singing, and other instruments. - from a note by Kaija Saariaho

From Memory Spaces, a cd of music by Nathan Davis. Click here to purchase.

 

Pres by Kaija Saariaho 1992 (mp3, 6.3 MB)
for solo cello and electronics, Mvt 1

Près for cello and electronics is in three movements.  The electronic element (synthetic sounds, modified pre-recorded cello, and live sound processing) expands the musical gestures of the cello in many different directions. The title of the work links it to Gauguin’s painting By the Sea; and hence to the experience of the sea itself and waves, their rhythms and sounds, stormy weather and calms. - from a note by Kaija Saariaho

 

These recordings were produced by Odd Appetite. Samtak, Oon, and Lense were recorded and mixed by Silas Brown. Ebene, Près, and Six Japanese Gardens were recorded by Nathaniel Morgan, for a lost stone was engineered by Ean White, and Cant was engineered by Cedar Oliver. Kebyar Untai, Sotong, Diving Bell, and Like Spinning Plates were recorded and mixed by Odd Appetite. Many thanks to all those involved.

 

 

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