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"This is the only hypothesis. From these two constraints and with the aid of stochastics, I built an entire composition without admitting any other restrictions."
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     No.48

    Some newly discovered important new music compositions.

     No.49

    File: 1720951045821.webm (7.41 MB, 600x600,07. Alisa Weilerstein - Ouroboros I. Allegretto.webm)

    Created a new thread for Thomas Larcher' works. As a composer in recent decades (2010-), his work is one of the very few that feels completely fresh to me.
    The 3rd movement of Ouroboros is marvellous, the climb (and then suddenly become silence) that begins at 2:10 is incredibly moving, and the transposition begins at 2:46 surprisingly reminds me of Gullum's sad eyes… Shortly after 5:23, this made me remember this piece forever.

    >I’m not interested in using shock techniques to flaunt the novelty of my architecture. I want to arrange and enhance the elements so as to produce new expressive values.
    >Larcher, https://www.thomaslarcher.com/

     No.50

    File: 1720951967181.webm (416.37 KB, 600x600,01. Sarah Aristidou - The Living Mountain I. Introduzione.webm)

    Whether or not one knows or understands Nan Shepherd is practically no impediment to enjoying this composition, although I went ahead and viewed some of it and posted one of her poems to the Poems Reprint Collection. The use of her poetry and get a soprano to read it is not unpleasant. What is important is some sort of movement through the mountains, and in this way analogies can be drawn to other situations as well.
    I guess the use of soprano learned a lot from Gurrelieder. Also for the whole composition I don't see anything directly related to Eine Alpensinfonie, so I have no empathy for certain magazine reviews, really have no idea what they're talking about… Whenever it has to do with climbing, it is associated with two actions, ascending and descending. The mountaineering theme may indeed be exciting.
    It only has a parallel relationship with Schoenberg etc. but not Strauss.

     No.51

    File: 1720952139573.webm (1.86 MB, 600x600,03. Sarah Aristidou - The Living Mountain III. As I reach the highest part of my dark moor.webm)

    >>50

     No.77

    File: 1724738353995.webm (4.08 MB, 600x600,03. Klangforum Wien - Revue Instrumentale Et Électronique (200405) III Cuts.webm)

    This was a spatial compostion, which means it would be like that for Boulez' Répons and Dialogue de l'ombre double (qobuz), a CD listener won't feel the real rhizome of the acoustic qualities. (But it could be fulfilled with a well-configured loudspeaker stero system and a special remixed version, like that for Boulez)
    IEM Graz, and ensemble sounds were pre-recorded.
    - 0012622KAI, booklet

     No.106

    Used to be colleague of Schaeffer, Henry and Xenakis. Now I only listened his Crosswind. Maybe this is because he is a theater guy so he made much effort to make instruments (Saxphone) "speaking" like human voice. And many cringe vocal parts also included. I don't know why French-institute composers are all so fond of inserting sound poetry stuffs into their compositions.
    only like the starting 1-3 mins of Crosswind. I listened the Kairos release: https://www.kairos-music.com/cds/0012942kai (Nov. 2006)
    Linked video: 04.03.2011. https://inv.nadeko.net/watch?v=WOX7aARZOmw

     No.107

    >>106
    >At the time of writing "Crosswind", Aperghis was interested in the writings of the behavioral scientist Konrad Lorenz and, based on this, also took a closer look at animalistic behavior among musicians. There is now stalking, posing and attacking, sniffing, noisily warning and protesting.
    >The territories of each individual are presented. One has the impression of listening to a mob facing a victim, which is obviously the viola. You don't know exactly what happens in the end, but it's a kind of animal confrontation."

    >a mob facing a victim, which is obviously the viola
    Wtf is this. Victim. I still think, even he wants to show this there's no clear clue why use human voice here is so essential and inevitable.

     No.108

    As for the using of humanic sound/voice, view them as samplings is the best strategy for me. Tbh, Wolfgang Mitterer almost did the best at using samples and combining them harmonically. Especially when among western scholastic composers no one actually like to largely use traditional underground electronic techniques like him, and Romitelli. (actually I'm prefer Mitterer than Romitelli)
    Just listened his Radio Fractal/Beat Music (2002). Amazing sample twerking!

     No.109

    Inexhaustible masterpiece. It's hard to tell the instruments apart because they all blend together. Like he said, "resonance". When listening to Scena and Ruah, I was actually thinking of the Indiana Jones series movie btw.
    https://www.ivanfedele.eu/data/composition/eng/13.html
    https://www.ivanfedele.eu/data/composition/eng/33.html
    https://www.ivanfedele.eu/data/composition/eng/20.html
    Stradivarius STR33650

     No.115

    File: 1747970901971.webm (4.75 MB, 600x600,06. Gao Hong - Prelude to the Divine Realm.webm)

    My recommendations:
    - 1. Drunken Immortals 飲中仙 – 4:35
    - 5. Portal to the Clouds 步虛九霄 – 5:46
    - 6. Prelude to the Divine Realm 神遊引 – 5:59
    I don't own this CD so don't know further information. Knew this release from http://www.medieval.org/music/jazz/index.html

     No.116

    File: 1748763853542.webm (2.44 MB, 600x600,02. Iglooghost - New Species.webm)

    EPIC. NO JOKING.
    Symphonic electronics.

    recommendation: whole length, and especially New Species