Compositions

Composed podcast commissioned by Vortex Temporum (25 in their series), 11’49 I was invited by the two coordinators of the Vortex Temporum series in Portugal

For E. Asian bowls and cymbals, 8-channel recording, commissioned by Thierry Miroglio, 6’. Programme note: This is the fourth work in Landy’s Old/New series that

Mexican piece for the radio series (7), commissioned by CMMAS+ENES/UNAM for the Visiones Sonoras festival, 8-channel work, 13’20”. Programme note: This is the 7th piece

Commission from the Musicacoustica Festival, Beijing: 8-channel work using world music samples, 18’45”. Programme note: : Shortly prior to starting this work I heard Issho-ni

Samples of Pete Stollery’s voice, soundscape recordings and compositions remixed (for his LXth birthday) – 1′.  

For speaking voice, 8-channel recording and projection – 15’40”. Programme note: The title of this piece is borrowed from a work by my friend and

For sudophone and political texts – texts and duration determined by the performer.

Commission – Ulster University: the 6th (pan-Irish) radio piece, 8-channel recording – 11’20”. Programme note: On the Éire (2017, 11’20) is the sixth in Landy’s

Commission from the programme, PRemEdice, national Czech Radio – the 5th radio series piece; stereo radiophonic and 8-channel and binaural versions – 17’08”. Programme note:

A work premiered at John Richards’ 50th birthday celebration concert in Leicester: for three conductors and one dirty electronics musician – ca. 6’. With a

Made for xūn player, Li Yue. Mixed version for xūn player and 8-channel recording 13’30; fixed medium for 8-channel version recording 12’10. Programme note: The

For the Dirty Electronics Ensemble – for 4, 8 or 12 vocalising performers utilising live electronics. Inspired by a Samuel Beckett work – ca. 18′.

6 mins. 5.1-channel work in the Radio Series made in collaboration with students from the Shenyang Conservatory of Music.   Programme note: During one residency

11-1/2 mins. 8-channel work: commission of the Musicacoustica 2013 Festival, Beijing using recorded sounds of traditional Chinese music – it is the first work in

9 mins. 8- and 24-channel diffusion. German work in the Radio Series – ZKM commission for the ARD Hörspiel Tagen Festival Programme note: This composition

ca. 13 mins. For Dirty Electronics Ensemble using self-made instruments Programme note: To celebrate a ’round number birthday’ of the composer’s close colleague, Simon Emmerson,

2’20” mins. For solo and recorded speaking voice   Programme note: This short piece is a sequel in a sense to Landy’s often performed work Rock’s

13 mins. total – 8-channel diffusion: British work within the Radio Series. As it consists of five sections, it can also be performed as a

9 mins. 8-channel recording. The first work of the composer’s Radio Series commissioned by INA/GRM, premiered 12 May 2007 at the Salle Messiaen at Radio

For stereo recording and solo speaking voice. This is the English language adaptation to the original piece, Telenovela (2000), 12′. This work is structured identically as

Stereo recording, conductor, 2’30. This piece was composed in a longer version involving three dancers for the Idée Fixe production, (Y)our House. It is one

For sheng [Chinese mouth organ] / speaking voice + stereo recording commissioned by Yorkshire Arts for the Huddersfield Electric Spring Festival, 11′ Sonic Highway Exits

8 mins. – 8 solo flute pieces of max. 1 min. length Written exclusively for flautist and composer, Jos Zwaanenburg, this piece’s title has been

“For a musician, sound diffuser and too much apparatus” – ca. 7 mins. There was one a horror movie (title forgotten by the composer) in

For solo voice-overs/recording(s) or several voices (& recording) (= Do It Yourself iv), indeterminate duration This work has been inspired by the mainly French writers’

Solo voice, tape any amount of instruments (= Do It Yourself iii), indeterminate duration The title says it all. The performers (at least two) are

Flutes, midi-microphone, sampler, composed exclusively for Jos Zwaanenburg, 12 mins. The title is inspired by René Magritte’s painting, Ceci n’est pas une pipe. It wasn’t

Solo voice-overs/stereo tape. New versions with choreography from 1994, 13 mins. The writer, Gertrude Stein has not only influenced my work, she has occasionally provided

9 mins. – solo voice-overs/stereo tape This, the second piece in the Do It Yourself series, was inspired by works by Michel Butor’s 6 810

Solo voice, 3 channel recording, texts based on a reduction of Heiner Müller’s Bildbeschreibung, 12 mins. This is the third composition using texts from Heiner

For 3 percussionists + stereo tape, commissioned by Slagwerkgroep Amsterdam, 43 & 23 min. versions This piece was commissioned by Nieuwe Slagwerkgroep Amsterdam (Amsterdam New

Video, 16 mins. Vidéo Circus composed with video artist, Michel Jaffrennou is an adaptation of the earlier Électronique Vidéo Circus multi-video, multichannel full-scale performance work. Commissioned for a

Video-theatre – a commission of the Centre Pompidou involving 3 actors, 28 video monitors in a big top-like structure plus six channels of sound –

For speaking voice, 4-channel tape, 12 min. This is the second work using texts written by Heiner Müller during our decade of collaboration (all others

For 4-channel tape, voice, oscilloscope, commission of the Dutch Ministry of Culture, 19 & 14 min. versions Having always been enthusiastic of text-sound poetry and

4 video tapes & monitors plus stereo sound-track, 7 mins. During a 15-year collaboration with Michel Jaffrennou, we ended up creating live art works, mixed

For many brass, percussion instruments, visuals and boat harbour, 30′-60′ In 1981 I conceived of a series of a modest number of music and nature

Song cycle of 13 songs for solo voice, any 2 solo instruments, texts by Heiner Müller, 21 minutes Müller Lieder was born of my early

Stereo recording realised at the studio at the Universiteit van Amsterdam, a pin-ball musique concrète work– 19 min. Sometimes an object from daily life can

Two versions: for cello and, later, for guitar 12 min. This piece evolved based on a request from the virtuoso cellist, Frances-Marie Uitti. Asking her

Piano – 14 min. Dedicated to Tom Constanten and Joe Kubera This work was requested by the pianist, Yvar Mikashoff and was a tribute to

Solo for voice-over(s)/tape(s) – indeterminate duration This piece was to become the first of a series of Do It Yourself works and consists of a

21 – 99 piece orchestra and a very large space or spaces – indeterminate duration This work borrows its name from the earlier work, Regiones Vocales

2 choruses (8 + 4), 8 soloists, tapes, 6 dancers and 10 instruments. – ca. 90′ This anti-opera was, in fact, the composer’s PhD final

Duet for solo oboe or flute, live electronics and tapes – indeterminate duration Cover or Wolken Wind Schermen – een Schilderij (a painting) score by Michel

8-voice chorus – 12 mins. This piece was composed during the final years of my study, during my tenure in Buffalo, New York. I was

Stereo recording, 18′ This piece was made at the request of visual artist, Michel Jaffrennou in 1974 after his request for the two 1973 works

6 percussionists/more than 100 instruments, 25 min. This large-scale percussion work (too large scale, in fact) has this Biblical text as its title as ‘and

22 piece jazz ensemble, 18 min. This work was my master’s thesis in composition and was inspired by Peter Schat’s Thema which, in turn, was influenced by

Stereo recording – 11 min. This is a student work in which I wanted to learn how to spatialise sound in four channels inspired by

3 stereo recordings and two rooms – 11 mins. This is one of two pieces made at the invitation of Michel Jaffrennou, a visual artist

Multiples of 7 (amateur) voices – indeterminate duration This is one of two works made after being invited by Michel Jaffrennou, with whom I would

5 min. – flute, published by Ascolta Music (Holland), 5 min. This is an early student work in which I was trying to find a

Stereo recording – 1 min. Inspired by Stravinsky’s Fanfare for Two Trumpets, this very short Øpus.1 of computer synthesis inevitably applies Columbia University’s second generation atonal