Works
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2023
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False Landscapes, 44:25
an evening-length intermedial experimental audio video mythosystem Episodes: 1. New Flung Earlets 2. Just Your Standard Pulsar 3. msgrcvd 4. Of Ephemerality 5. Like Grabbing Gossamer 6. New Thing (Again) 7. Eternally Nocturnally Suburban 8. Landscape with a blue flumingo 9. Butterfly Bee Water (brainquarium) Attenborough to the places where the air tastes of electricity Giddily traveling the beautiful unreality of internal spaces, their intricacies and world-growths, and the self-sustained logic which maintains their construction; an Attenborough to the places where the air tastes of electricity. in development 2018 – present album pre-release will be available on Bandcamp & experimental film premier forthcoming – date TBD |
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2022
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mutterbug
open instrumentation / open ensemble / open time; an exploration of submersed and glancing thoughts within the stream of consciousness of the performance space; a mythosystem of mumbling daydreams. score available here adaptable to a multitude of performance spaces / situations old new blueps
smatterings of a life lived celestial-bodily stretched across the multiverse released 4 March 2022 – available on Bandcamp a collection of genre-dipped electronic works reliving the ephemera of remembered space composition & performance – bluflumingo mixing & mastering – Louise Fristensky Album Art: Louise Fristensky |
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2021
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pueblo glórtha
pueblo glórtha - a title drawn from mixed language wordplay that loosely translates to “sound town” or “people sound” - captures these four sympathetic collaborators in the thick of improvisational sonic world-building. Tonne’s non-conventional vocalizations zoom in and out of focus, often meshing with Fristensky’s objects and breath. When paired with the creaking, mechanical instrumentation of Montiel and Espinel, they create a uniquely atmospheric full group sound that displays a wide dynamic range. While this particular four-piece collaboration may have been short-lived, pueblo glórtha captures that seemingly rare ‘lightning in a bottle’ improv session that is truly transportive, a recording that begs to be revisited often. released November 30, 2021 – available on Bandcamp 1. near a third of 23:00. single ~ early release 2. dale duro 3. la dron Liz Tonne - voice Louise Fristensky - voice, kazoo, flute, bells, objects Ernesto Montiel - objects on guitar Miguel Espinel - percussion, cymbals, objects, autoharp, live processing Recorded by Justin Lemons at Infinite Ohm Studio in Denton, Texas on May 19, 2019 Mastered by Andrew Weathers Album Art: Paintings by Bernardo Bermudez // Images edited by Ginger Berry and Juan Pablo Garza (from the book BAB by Anna Maria Ferris, Caracas, 1998) Layout by Matt Irwin and Ernesto Montiel to love a mountain made of walls, 00:20:00 - 03:00:00
(2020-2021) a variable-rate generative audio/visual installation which adulates and ruminates on the intricacies and dialogues of boundaries, walls and layers. ideal for long-form corner projection or immersive projection installation sites, but available in a shortened 20 minute iteration for theater projection. First installed as a ~16 min fixed cut prepared for the CEMI Graduate Symposium 29 October 2021, audiated throughout the Merrill Ellis Intermedia Theater (MEIT) 36.2 ambisonic dome and projected on all 5 screens arranged at equal height. the emergency alert system is on alert and will be with you shortly
Double Bass Duet with C Extension a panicked meditation on the sonic geographies of continuous catastrophe. this piece specifically explores the timbral similarities between the mechanical air stream sirens iconically associated with many different systems of emergency alerts and the double bass' bow artifacts and ability to duplicate and fine-manipulate tones across its range.a panicked meditation on the sonic geographies of continuous catastrophe. this piece specifically explores the timbral similarities between the mechanical air stream sirens iconically associated with many different systems of emergency alerts and the double bass' bow artifacts and ability to duplicate and fine-manipulate tones across its range. bury your fears in Attenborough
an experimental synth & voice poetic solo duet shit brigadoon, 15:54
an experimental audiovisual work harvesting quietly extrapolated gravity to swan about in happiness suspenders single ~ early release from Cold Seeplógs; available on Bandcamp synth, vocals, flute, kazoo, bass & objects by bluflumingo |
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2020
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TORNA POLLEN, POLLEN PORTA
TORNA POLLEN, POLLEN PORTA, Monte Espina + Liz Tonne + Louise Fristensky We played with Liz for the first time on June 6th 2017, at her home; with Louise on August 10th of the same year. Later in December we played with Liz and Rebecca Novak as a quartet at Full City Rooster and some months later as a trio at Outward Bound Mixtape Sessions. With Louise, we have performed several times, she is the person we have played the most as a trio. October 5th 2018 was the first time the four of us performed together as a quartet at SITE 131, then again on April 28th 2019 at Full City Rooster, When Liz was about to move back to Massachusetts, after some years of living in Dallas, we decided to go on a three date Texas tour in May: Houston (They Who Sound), Denton (Nebulae) and Austin (Me Mer Mo Monday). Artwork: Louise Fristensky, Liz Tonne and Ernesto Montiel Layout: Ernesto Montiel While this particular four-piece collaboration may have been short-lived, pueblo glórtha captures that seemingly rare ‘lightning in a bottle’ improv session that is truly transportive, a recording that begs to be revisited often. released July 3, 2020 – available on Bandcamp 1. mayo 17, 2019 denton 2. mayo 20, 2019, austin Liz Tonne - voice Louise Fristensky - voice, kazoo, flute, bells, objects Ernesto Montiel - objects on guitar Miguel Espinel - percussion, cymbals, objects, autoharp, live processing Album Artwork: Louise Fristensky, Liz Tonne and Ernesto Montiel Layout: Ernesto Montiel Singing Bones of Piano Fall
ambisonic audio & performance installation Singing Bones of Piano Fall is a collaborative ambisonic installation piece by Louise Fristensky and Christopher Poovey exploring the extracted and abstracted internal elements of the piano – the strings and pegs of the harp, the wood and metal of the soundboard, and the resonant space beneath the lid – as an immersive environment. The installation uses the space of the Merrill Ellis Intermedia Theater (MEIT) – or any appropriate ambisonic theater – to create overlapping layers and zones of moving sounds and reverb to resemble the composers’ imaginings of the experience of the sounds reverberating within the soundboard and body of the piano. Samples of the MEIT’s own Bösendorfer were recorded by the composers in a spatial layout across the body of the instrument, and these samples were convert to ambisonic b-format for use as one layer of the convolution reverb which creates the immersive effect. A seep layer of deep bass sounds generated by Louise to reflect the static resonance of the internal space of the piano vacillates in the lowest ring of the ambisonic space to create a pool of reverberation in which the extracted soundboard rests. The convolution reverb is managed by a software constructed by Christopher using Max/MSP, HIRT and the IEM plug-in suite. The immersive-theatrical space is activated by a custom lighting design created for the installation by Louise intended to both heighten the sense of immersion and to draw the audience to the interactive aspects of the installation. The extracted soundboard and harp are placed in the space so that visitors may play with the strings and body with their hands or provided objects, and the resulting sounds trigger the convolution reverb. The impulse responses from the extracted soundboard are stochastically determined based on weights given to the samples in real-time by Christopher’s software. Both a space and a performance, Singing Bones of Piano Fall meditates on the internal experience of the resonant space of the piano and on the extracted and discarded pieces of the instrument. First installed 17 February 2020 in the Merrill Ellis Intermedia Theater at The University of North Texas |
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2019
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singing underwater
Solo Voice with optional amplification singing underwater is a breath rising and falling beneath the surface, a high stakes game of keep up between toe-touches. virtuosic treading in soundwaves. an episode from the in-progress mythosystem to swim in air, a modular extractable system of intermedial audiovisual performance works connected by a sub/conscious structure of perceptual exploration. In Shared Waters
participatory audio-tactile installation In Shared Waters uses a bass transducer to vibrate the waters in both a provided conductive bowl and within the submerged hand(s) and wrist(s) of the participant. first installed December 2019 |
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2018
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Shit Time Machine
auto-performative audio-spacial installation Playing with spacial-associative memory drifts which occur on the toilet, Shit Time Machine uses Nostalgites activated within the time machine chamber to transport the participant to the temporal location of their divining. continuously in development :: first installed May 2018 Landscape with a blue flamingo
Fixed Electronics |
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2017
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Love Song
Soprano, Harp, and Electric Guitar I leaned forward, but my feet had melted
Alto Saxophone, Trombone, Electric Guitar, Contrabass, 2 Percussionists Bloodletting
for 4 performers (Voice, Keyboard, Accordion, Double Bass), Fixed Electronics, Video and Lighting Bloodletting is an installation combining video, sound, text, and live performance to explore the sense of self in the internet age as both physical and mental objects. In our pursuit of this topic we chose to examine the act of losing oneself in the technological environment, of specifically losing one’s sense of individuality and identity. Developed in collaboration with Christopher Poovey, Elaine DiFalco, and Joshua Lambert There Will Come Soft Rains
for 8 voices (Soprano I & II, Alto I & II, Tenor, Baritone I & II, Bass) |
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2016 - 2017
rev. 2018 |
That Shines and Burns
Alto Saxophone & Double Bass |
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2016
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The Audacity
Flute, Violin, Bass Clarinet, 2 Percussionists, Live & Fixed Electronics Premiered by Elizabeth Milligan (fl), Sarah Elizabeth Compton (v), David Floyd (b. cl), Katie Eikam (perc), & Kevin Zetina (perc). Coached by Ashley Walters, and conducted by Christopher Adler. |
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2015
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The Ravening Clouds: Don't kill us, cumulonimbus!
Percussion Trio Mikroetudes:
Juxtaposed Weather And so Listen Quickie BitKlavier: Prepared Digital Piano Written in participation as one of 14 composers in the Mikroetudes project for the testing and release of Dan Trueman's bitKlavier software instrument The head called to the body
Glass Armonica, Mixed Percussion Premiered by Chui Ling Tan (glass armonica, percussion) and Greg Riss (percussion) |
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2014
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In a neon valley
Flute, Fixed Electronics I Am Not Yours: Sara Teasdale
Pierrot Ensemble, Soprano Premiered by The Nouveau Classical Project and soprano Pamela Stein A Boat: Richard Brautigan
Mezzo Soprano, Violin, Cello Premier by Pamela Stein Lynde (sop), Kaya Katarzyna Bryla-Wiess (v), and Domenica Romagni (c) Miniature Études for Flute:
No. 1 Nubivagant Flute |
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2013
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All watched over: Richard Brautigan
Mature Tenor, Flute, Electronics Beautiful Violence
String Quartet |
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2012
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Sileneophor
Violin (Scordatura G Db A E), Piano Renga:Cage:100:Louise Fristensky
Player 1: digital turntable Player 2: 3 pieces of wood, 2 tuning forks Player 3: glass bottle, suspended cymbol, tambourine Player 4: 3 metal cans, orchestral whip, vibraslap Written in participation as one of 100 composers in Third Coast Percussion's Renga:Cage:100 in celebration of John Cage's 100th Birthday |
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2011
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The Halcyon Days of the Beast
Double String Quintet or Small String Orchestra Commissioned by Hudson Symphony Orchestra, the ensemble in residence of Saint Peter's University Balaenoptera Musculus
Contrabass |
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2010
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First Garden: Mercurial Plantlife
Amplified Violin (Scordatura G Db A E) String Quartet No. 1, Sapphic Stanzas
String Quartet Glass Portrait No. 2, Brittle Branches
Flute, Clarinet, Percussion Paniskoi No. 1
Piano Paniskoi No. 2
Piano |
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2009 - 2013
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American Songs: Bad Poetry
Countertenor, Piano I. Soft - Smiling Cheeks II. Her WantonWild III. Bastardized Villanelle IV. Jarred Starlight Condensation V. Margot! |
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2009
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Il dolce suono...
Player 1: Glockenspiel Player 2: Vibraphone Player 3: Timpani Paean, Oh! See the softly slumbring blossoms
SSATB Chorus Glass Portrait No. 1, Passerine Figures
Flute I. Vif II. Lent III. Trés Vite New American Songs: Kelsey Amos
Tenor, Violin (Scordatura G Db A E), Banjo 1. Landscape 2. Dry Season 3. Second Landscape 4. Process 5. Third Landscape 6. A Beautiful Name, Which Has Been Forgotten |
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2008 - 2009
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Pictures from Brueghel: William Carlos Williams
Soprano, Piano II. Landscape With The Fall Of Icarus III. The Hunters In The Snow V. Peasant Wedding VI. Haymaking Postlude |
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2008
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Prelude in the style of Debussy
Piano Solo for Cello
Cello |