015 - James Saunders - #[unassigned]
This version was commissioned by ascolta with support from Klangverein Stuttgart. This version was commissioned by Sudwestrundfunk for performance at the Donaueschinger Musiktage.
Saunders, J 'Rebecca Saunders. Saunders, J 'Specific objects? Distributed approaches to sourcing sonic materials in open form compositions.
ISSN Saunders, J ''Zeit ist niemandes Eigentum'. Interview mit Beuger. Saunders, J 'Testing the consequences—multipart series in the work of the Wandelweiser composers. Saunders, J 'Modular music. Saunders, J 'The Dictaphone in my life. Saunders, J Playing, music. Saunders, 015 - James Saunders - #[unassigned] I tell you what to do: autonomy, control and play in game compositions. Saunders, J you are required to split your attention between multiple sources of information.
It seems like a reference to a tradition that lies outside of the standard contemporary classical heritage. I was wondering what pulls you toward these objects? Absolutely, especially radios. For the use of these materials in [unassigned] it was purely for their sonic properties.
So for example in the orchestral piece things whole and not whole I made in for Basel Sinfonietta, 60 players each have to find 15 sounds that are as different as possible to each other. I mean this both with the found objects and the sounds of instruments.
Yes, absolutely. In a sense, broadly speaking, you know where your audience is. That literal sense of found objects that are just placed there. So I am very aware of the real world associations.
And sometimes that can be humorous, I hope… You hope? Yeah I like that! Also, it can create some interesting associations. Inspired to write initially by Ionesco, Pirandello and Beckett, Saunders often mocked pretension while making far-from-routine existential inquiries, and took delight in subverting theatrical conventions.
Early in his career he told an interviewer: "If there's any theme that runs through my work, it's the absurdity of finding logic in anything at all. Saunders was born and raised in Islington, north London, in an atmosphere of "class enmity, unemployment and poverty". His mother was the daughter of a 015 - James Saunders - #[unassigned]and his father, a former soldier who had survived the first world war, had, after spells as a presser, dyer and mail-sorter, settled as a house-painter.
Saunders inherited something of his father's restive Casual Thing - Harry Howard & The NDE - Pretty. Saunders' work explores modular  and 015 - James Saunders - #[unassigned] structures and uses open forms.
His music uses extended instrumental techniques and found objects as a means of exploring the sonic properties of materials. From Wikipedia, the free encyclopedia. James Saunders. Retrieved 20 December Borealis Festival.
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