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    <loc>http://www.markcauvin.com/work-avenue</loc>
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    <lastmod>2026-01-23</lastmod>
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      <image:title>MUSIC - Compositions, Interpretations, and Improvisations</image:title>
      <image:caption>Reviews Strings and electronics Ideas for each edition of The Sound Barrier sometimes emerge in the most unexpected ways. Like this week when, as I began thinking about possible ideas for this week's show, I received a fortuitous surprise in the mail from Sydney-based double-bassist and composer, Mark Cauvin: his latest CD, Compositions, Interpretations and Improvisations. It's a brilliant release and, as its title suggests, Mark includes on the CD compositions of his own, interpretations of those of others (including a wonderful performance of the double bass version of Karlheinz Stockhausen's IN FREUNDSCHAFT), and some improvisations. But the pieces that grabbed my attention the most are his works for double bass and electronics, compositions that both open and close the CD. This then gave me the idea of exploring other works for the string family of the classical Western orchestra where solo instruments join with electronics to create different connection between these two sound sources: the one that has been heard in musical venues for centuries, the other emerging only in the last few decades. Following their place on Mark Cauvin's CD, his two works for double bass and electronics open and close this edition of the show also. His Triptych for Double Bass and Electronics, which opens the show, began life as an audio visual work in which live visual drawing projections from artist Jody Graham played the role that an orchestra might play in a concerto: reflecting, responding to, encapsulating, conversing with, the sound gestures of the solo instrument. In this audio-only version of the work, despite the absence of the visual component, we hear a similar part playing out in the electronics: grabbing the gestural sounds of the double bass, magnifying them, layering them, and creating a dense and multi-hued collaborator with the solo instrument, every bit as rich and nuanced in its textures and timbres as an orchestra would be in a conventional concerto. The music here has an immediate sense of physicality about it. From the outset, the double bass is lifted from its conventional place of foundational underlay for what others do. Here it is forceful, energetic, and it has much to say as the electronics scrunch, scrape, and dissipate the raw material of the instrument. There are violent waves of Merzbowesque noise, nervous pauses of uncertainty, deceptive hints of calm that soon give way to subterranean volcanoes, frenetic screeches, and pounding blows. The journey that the work's three sections take you on happen with such force and immediacy that you have no time to strap yourself in. This is no 19th-century Romantic concerto. Be ready to be bruised. PBS FM 10pm-12am, Sound Barriers, Ian Parsons, 2/4/2023 VITAL WEEKLY 1384 MARK CAUVIN - COMPOSITIONS, INTERPRETATIONS AND IMPROVISATIONS (CDR private) This release by Mark Cauvin is his third release, but the first time I hear his music. He is a double bass player from Australia and also uses electronics. This release has six compositions by Chauvin and one each by Karlheinz Stockhausen and Boguslaw Schaeffer. The first three pieces were commissioned by the Art Zoyd Studios as part of their YouTube Christmas Market in 2022. In these three pieces, the electronics play a significant role and sometimes sound damn fine noisy. The element of improvisation is also never far away, making a fine combination with a lot of tension. It reminded me of Kasper T. Toeplitz in terms of intensity. Toeplitz's name also appears in 'Motor Bow - Improvisation', in which Cauvin uses a motorised bow, introduced by Toepltz and made by Leo Maurel. Here too, there is quite a bit of noise, which is most enjoyable. A zip plays a role in 'Zip Bow - Improvisation', and in 'Tape Piece For Double Bass, Noises And Electronics', he uses concise bits of magnetic tape and long strips, which he stuck together. This piece is the final piece of the release and also the one that is the most electronic piece. Perhaps no surprise that the last piece is also the one I enjoyed most. All of these pieces make up for an excellent release; as far as I am concerned, this would have been enough. All of that clocks in at over fifty minutes. There seem to be no electronics in the Stockhausen piece, and it sounds like an acoustic improvisation; well, I know it is modern composition, but nonetheless. That too can be said of the Schaeffer piece, but now with electronics; perhaps, noisy too, but of a different kind. Not bad, but for all I care, I was already happy with Cauvin's own pieces, which gave me a pretty clear idea of his music, and I enjoyed his noise and bass combo a lot. (FdW) ––– Address: https://markcauvin.bandcamp.com/</image:caption>
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      <image:title>MUSIC - AJAX I for Double Bass and Electronics</image:title>
      <image:caption>AJAX I composed for Double Bass and Electronics. First solo performance at the Seymour Centre in Sydney on 26/10/2024 with Keyna Wilkins and Shane Carpini (IBID).</image:caption>
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      <image:caption>Thermic Anatomy: Vestibule ' Baboon ' Rupture Is a tripartite electroacoustic composition developed through a synthesis of extended double bass practice, field-derived animal sound, analogue signal processing, and tape-based recording systems. The work is conceived as a sIngle specimen examined through three contiguous conditions rather than discrete movements. The recording was completed in December 2025.</image:caption>
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      <image:title>MUSIC - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>MUSIC - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>http://www.markcauvin.com/studio-work</loc>
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    <lastmod>2021-12-22</lastmod>
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    <lastmod>2022-12-11</lastmod>
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    <lastmod>2025-01-01</lastmod>
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    <lastmod>2016-01-09</lastmod>
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    <lastmod>2025-06-08</lastmod>
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      <image:caption>Photo by Akira Saito</image:caption>
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    <lastmod>2025-11-01</lastmod>
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      <image:title>Baboon versus Earth (Typhoeus) - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Baboon versus Earth (Typhoeus) - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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