Listen With Others No.12 – September 4th 2026
Canti Illuminati [For Choir, Synthesizer, Piano And Tape] by Alvin Curran 26’43”
“Composed and recorded between 1973 and 1977, Alvin Curran’s Canti Illuminati explores the human voice through sustained tones, overtones, microtones and collective improvisation. This first part brings an eleven-voice ensemble together with synthesizer, piano and tape, moving between individual voices and dense, shifting harmonic fields. Emerging alongside minimalism and early spectral music, it offers a parallel exploration of resonance and the internal complexity of sound through voice, electronics and attentive listening.”
https://editionsblume.bandcamp.com/album/canti-illuminati
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John Chowning Phoné 12’39”
Phoné was composed by John Chowning in 1980–81 and was first presented at IRCAM in Paris in February 1981. It uses FM synthesis to produce a range of timbres including the singing voice and other strongly resonant sounds. Chowning describes the work as exploring “ambiguities that can arise in the perception and identification of sound sources,” including transitions between timbres and extensions of vocal sounds into registers that could not exist in a real human voice.
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Partiels by Gérard Grisey 22’02”
“Partiels is a 1975 music composition by French composer Gérard Grisey. Written for 18 instruments, the piece is considered a defining work of spectral music. Many second- and third-generation spectral composers cite Partiels as causing their initial interest in the spectral outlook. It is the third piece in Grisey’s cycle, Les Espaces Acoustiques.”
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A Reading from Shaking Studies by Judith Hamann 5’27”
For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, “Shaking Studies,” is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies.
https://judithhamann.bandcamp.com/album/shaking-studies
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Prisma Interius VII & VIII by Catherine Lamb & the Harmonic Space Orchestra 34’14”
“In Catherine Lamb’s Prisma Interius series the unpredictability of the outside articulates the field of perception through precise bandpass filters, while acoustic instruments and musicians guide the unfolding of its harmonic space. A series of nine pieces exploring the potential of the Secondary Rainbow synthesizer, an instrument developed in 2016-2017 with Bryan Eubanks, that uses the live environment outside the performance space as a noise generator for basic subtractive synthesis. The intention is to dynamically fuse the outside world and acoustic instruments and what emerges is a sort of Aeolian harp residue highlighting the spectral information the listener might perceive in a given moment.”
https://catherinelamb.bandcamp.com/album/prisma-interius-vii-viii-882-24
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