uma-sudo

[uma-sudo]

Once I get there I never wanna leave

Sound performance at Orpheus Institute

First workshop I had with Martin Parker, he wrote as a max msp patch that would play sound samples randomly. We had a small performance test with the patch and I immediately fell in love with it. Understand: not with writing patches, but using them.

Since then I have been chasing a live performance, that for some time was left aside and finally I was able to bring into life last week, at Orpheus Institute.

The most special thanks to Elias Heuninck who, unlike me, can pretty much write max patches and jazzed it so I could use it.

[uma-sudo]

[uma-sudo]

[uma-sudo]

Kill me

[uma-sudo]

can’t f******* believe I didn’t see this before :)

[uma-sudo]

Composing for surround

I’m finally mixing my piece for surround today, with the help of a professional mixer who is being kind enough to accommodate my unconventional requests...

[uma-sudo]

[uma-sudo]

[uma-sudo]

[uma-sudo]

“A man sets himself the task of portraying the world. Over the years he fills a given surface with images of provinces and kingdoms, mountains, bays, ships, islands, fish, rooms, instruments, heavenly bodies, horses, and people. Shortly before he dies he discovers that this patient labyrinth of lines is a drawing of his own face.”

[uma-sudo]

I don't understand the question

[uma-sudo]

When spring comes, does the grass “plan” to grow?

[uma-sudo]

When you open it to speak Are you smart?

[uma-sudo]

Arp 2500 Synthesizer

“Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978.

Recorded in the composer's studio in Paris.

After the premiere of Adnos I in San Francisco in 1974, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements", water, air, fire, earth....Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions.

This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980), Adnos III (1981), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley -, "Jetsun Mila" (1986), as well as the Trilogy of Death: Kyema (1988), Kailasha (1991) and Koume (1993). 

Manu Holterbach (translation: Maxime Guitton)”