Calvin Hampton - Triple Play @pelodelperro

Uploaded March 2026 | Updated September 2026, 2 weeks ago

Triple Play, for Ondes Martenot and two pianos (1967)

George Pappastavrou & Stuart Warren Lanning, piano
Helen McGill, Ondes Martenot

The initial procedures in Triple Play are academic: a short melodic motif and its intervallic inversion, variously juxtaposed with a short rhythm pattern and its durational opposite. The controlled durations graduate to a rhythmic quotation from a novelty song entitled “I’m in Love With Tootsie Oodles.” Simultaneously, the melodic motif, having undergone intervallic expansion, acquires frivolous adornments during the course of two “variations.” All elements are homogenized at the conclusion.

In an effort to draw a blush from composer Lee Erwin, who wrote “Tootsie Oodles” for the Arthur Godfrey show, I performed his song at a party—in strict canon. Lee matched my stunt by playing the canon back to me at a New York film festival, during his accompaniment of a Gloria Swanson silent epic. Rendering it once more in this piece makes a triple play. --Calvin Hampton

Art by Miquel Barceló

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$Kasper T Toeplitz - Lärmesmitte Lärmesmitte, for solo basscomputer (2006) At the turn of the century – of the millennium – I almost completely abandoned the electric bass, my instrument of choice until then, which seemed to me too rooted in a 20th century history, too subject to guitar rites, not sufficiently in touch with the now, to use only the computer as a stage instrument, for live performances. Using the computer as my main instrument – as much an instrument for thinking about music as an instrument for the stage – has opened me up to possibilities that were previously unattainable: microtones, almost infinite polyphony, sound clouds, notions of density, registers... And then, once again, the desire to hybridize these possibilities with the bass – like a reunion – but a rethought bass, whether in its form, its electronic construction, its possibilities. Another consequence of working with the computer as my primary instrument has been my growing fascination with noise, to the point of making it, in its various forms and colors (white, black, grey, fractal...), my sole sound source – filtered, sculpted, worked on in real time – theres no question of broadcasting sounds prepared in silence. Everything happens within the time frame of the music. Kasper T Toeplitz Art by Marco Fusinato$