Euclidean Horns – Harbour Symphony
The Harbour Symphony is original music written for the horns of the ships in the St. John’s harbour. This signature fanfare of the Sound Symposium transforms the ships in the harbour into an orchestra on water.
Rolling Bösendorfer is another installment of my work that focuses on mechanical sounds produced by remotely controllable instruments. The piece was performed at the Pianos Without Organs Festival October 2016, in Raleigh, NC.
In "Methods Of Expansion And Contraction" disparate scenes and subjects form a continuous montage of contrastive timbres, textures and sonic eruptions, occasionally interrupted by quiet pulses. The work is presented on a 16-channel sound system, the sounds were created on a Buchla Music Easel and Hordijk Blippoo Box.
Take part in a massive synth orchestra! Eurorack, Moog, Buchla, Serge, Tonto, self-designed instruments: as long as it has patch cords and is analog, it's in! We are looking for about 20+ players to take part in the workshop and performance, to create a massive piece of waves, filtering, noise, and beats!
Nachtstück Recordings NR-20, recorded 2015. Michael Lytle - bassclarinet, contra bassclarinet, voice; Erhard Hirt - guitar, electronics; Hans Tammen - buchla
Samadis Records, recorded February 2016, released March 2016. Total time 39 minutes. Saman Samadi - piano, Blaise Siwula - clarinet/altosax, Hans Tammen - buchla.
Unsettling, frantic and anti-sentimental, Hans Tammen’s Third Eye Electric Band – for whom machine oil is mother’s milk – fuse relentless polyrhythmic maneuvers with ethereal yet roughly sewn soundscapes. Dark, sometimes brooding ensemble passages mix and mingle with tightly woven drum-loops, and extended solo cadenzas build up to a mighty hymn to machine work, music of a metallic nightmare.