Songs / Chansons.

Breath Piece, 2016. Composition. Performed by Adam Carmichael (cello), Ollie Hawker (violin), Peter Lorenz (clarinet), and Lucian Moriyama (bass viol).

Inspired by the listening of Cornelius Cardew, The Great Learning Paragraph 7. A piece where harmonic motion and rhythm are decided through the collective breathing rhythms of the performers.

Composition 1960 #7 by La Monte Young, 2015. Performance. Performed on the sheng, a Chinese mouth organ. Broadcast on France Musique.

The instructions for La Monte Young's Composition 1960 #7 are very simple: two notes, B and F# (a perfect fifth) are 'to be held for a long time'. This piece seems to propose that the interesting parts of music are not always notated, but rather sensual, psychological, or embodied. The sheng's ability to sustain notes while breathing in and out seemed perfectly suited to minimalism's Eastern obsessions.

A procession viewed from several angles, 2020. Performance. 15 minutes. Conservatoire Pierre Barbizet, Marseille. Within the framework of Manifesta 13, PAC, Art-Cade Gallery, and the exhibition Liminal, at the invitation of Flore Saunois.

A performance of sculptural-musical objects, inspired by minimalist musics and Japanese gagaku. Arising from a fascination for the musical object, this performance suggests new forms for musical practices. This performance moves between architectural, sculptural, and musical materials, playing with the ornamental sounds and architectures of the conservatory.

Performers : Lucas Cero, Lucian Moriyama, Simon Schadwinkel, Cyprien Schaffner, Etta Wunsch

False Trumpet, 2020. Scagliola (plaster, pigments), accordion reeds. 38 x 28 x 12 cm.

Aulos, 2020. Scagliola (plaster, pigments), oboe reeds. Each flute 42 x 2 x 2 cm.

Masks (pink and blue), 2020. Scagliola (plaster, pigments), accordion reeds, plastic tubes. 23 x 15 x 10 cm.

Automatic Writing for Clavichord, 2015. Composition.

The clavichord is a uniquely intimate and expressive keyboard instrument. It is incapable of playing very loudly, but a forceful touch does permit the performer to bend the pitch. In this amateurish homage to Robert Ashley, I recorded myself playing the same phrases over and over, letting the defects of my playing become the content of the piece. Score.

Music for Noise, 2015. Sound installation with field recorder, computer, radio transmitter, and radio.

Music for Noise behaves like a guitar tuner, detecting and playing back barely perceivable musical frequencies. It was conceived of as a response to certain hypocrisies present in the work of John Cage and also as an homage to the composer Cornelius Cardew.

Music for Noise se comporte comme un accordeur, et détecte des fréquences musicales à peine perceptibles. Elle est à la fois une réponse à certaines hypocrisies présentes dans le travail de John Cage et un hommage au compositeur Cornelius Cardew, étudiant et détracteur de John Cage.