Electronic Music Concerts 2012> Brain in pulse

Unit 1-Hungarian branch
1) PERCUPICSY - Electroacoustic Music (13’20” /1994/China Premiere)
Composer: Miklós Sugár(Hungry)   

PERCUPICSY consist of 3 material components:
1. Musical basic material prepared in the UPIC Studio near Paris and containing mainly convented bird’s notes.
2. Music composed to my own synthetiser Yamaha SY 22, in which both samples and synthetic notes can be found.
3. Music instrumented to percussion instruments and intoned live.
The posterior works concerning the piece of music were carried out in the electroacoustic musical studio of Hungarian Radio with the collaboration of István Horváth sound designer.

2) Ianus - Electroacoustic Music (4’02”/1995/China Premiere)
Composer: István Szigeti (Hungary)

The work Ianus (1995) exhibits this duality, even in its title. First we can speak of the coexistence of piano-like and non-piano-like sounds, and their interplay of timbres (through utilization of a Yamaha SY 77 synthesizer and its sequencer). We can speak also about a stylistic duality: that of the ostinato and repetitive instrumental style and a certain jazz-like rhythmic playfulness. Moreover, we can also observe tonal ambiguities: the piano, microtonally detuned, exhibits in places timbres suggesting the sounds of percussion or electronic instruments, at times recalling Cage’s prepared piano, where such preparation can bring into being percussion sounds, and string instrument sounds simultaneously, using wood, leather or metal preparations. In accordance with the composer’s intention the Janus- like duality is asserted primarily in the linear, temporal progression of the work. The two-minute, two-voice material is played attacca for a second time also, but now-by making use of the tuning possibilities of the synthesizer-the original sound intervals will be reduced by half. Accordingly, perfect fourths, minor thirds, whole tones, semitones, and so on featuring in the score emerge reduced by half one after another. This changing pitch leads to blurred than in the first sounding –following the logic, already known from other works, of crossing into the uncertain, unreal world.

3) Ikaromania – Multimedia Electronic Music (11’/2008/China Premiere)
Composer: Gyula Pintér (Hungary)

The first version of Ikaromania was born with the perticipation of artist Istvan Kovacs, as part of an interactive performance. The interaction of a video camera and movement on stage can control musical processes during a live performance.
In the case of this performance, the participating performer forms the musical events in an aleatoric form.
The work that can now be viewed is the video adaptation of the performance, which is an improved version in terms of its thematics and compositional technique, both musically and in pictorial expression.

Unit 2 – Sweden Federation
Alpha Position U – Electronic Music (09'17''/2007/China Premiere)
Composer: Thomas Bjelkeborn (Sweden)

In Alpha Position U I experimented with a sense of movement without moving any sounds. I tried to limit all spectral changes to avoid unnecessary blending and placed the sounds at exactly the speakers positions. Any travel in space is an illusion created by spectral diffusion between the speakers and the acoustics of the listeners room. The music is a distinctive five channel piece which could have been played by five musicians (and a ghost) standing exactly where the speakers are (+ virtuel center back).
    The music was composed in autumn 2007 in Studio Alpha at Visby International Center for Composers in Sweden with a grant awarded by The Swedish Society of Composers.

Nigredo – Electronic Music (13'/2007/China Premiere)
Composer: Annelie Nederberg (Sweden)
Song by Camerata Mariae, Visby Vokalensemble, Marco Fonseca Garcia and Annelie Nederberg. Nigredo: the black inital phase in Alchemy.

Unit 3-Mexican Federation
1) Autorretrato II - Electroacoustic Music (6’02’’ /2011/China Premiere)
Composer: Mauricio Valdés San Emeterio (Mexico)

This work is part of the triptych in memory of Spanish poet León Felipe, which focuses on the poem Autorretrato (Self-Portrait).
For this second part I do not use any recorder voice or parts of the text, and has the function of interlude to the two complementary parts of the work.

2) Brain in pulse for electroacoustic sounds - Electroacoustic Music (7’20’’/2012/ China Premiere)
Composer: Rodrigo Sigal (Mexico)

The piece aims to emulate patterns of pulse as perceived by our brain in our hectic daily routines. Composed with help by the National Council for the Arts as part of the SNCA program in Mexico.

3) El Baño de Frida Kahlo (The bath of Frida Kahlo) - Electroacoustic Music  (8’36’’/2012/China Premiere)
Composer: Manuel Rocha Iturbide (Mexico)

After Mexican Painter Frida Kahlo´s death in 1954, her husband Diego Rivera decided to close two bathrooms with objects and documents belonging to Frida. In 2004 the rooms were reopened. One of these spaces was photographed by Mexican photographer Graciela Iturbide, using some of Frida´s objects stored there, such as here crutches, a Stalin poster, a dissected turtle, an apron with blood, etc.
In this sound work I was trying to create a sort of Frida´s portrait, specifically in the context the that small space where she would hide (her private bathroom), and where there was only a bath tub and two small pieces of wooden furniture.
This is not the Frida that suffers, but the Frida still child that lets her self go, traveling (thanks to the effect of water) to the most profound subconscious space of her psyche. My composition is equally inspired in the surrealist painting “Lo que el agua me dejó” (“what the water left me”), realized in 1938, where Frida is inside the bath tub filled with water, where different beings like insects, the empire state building, a volcano, Frida´s parents, etc, grow from within. All these icons are related to the internalization of her intense and complex life.

4) Caja Negra (Black Box) - Electroacoustic (8’14’’/2011/China Premiere)
Composer: Antonio Russek (Mexico)
Caja Negra is a piece made for a 'multi-instrument' composed by various objects that are use as independent sound sources, amplified by means of contact microphones and real time processes.
The current version of the instrument includes ten objects, most of them constructed as springs, wood blocks, metal, nylon thread, pvc tubes, and the rest are found objects that are transformed. The number of objects and their position in the structure can vary.
Caja Negra is an open project that can work along with fixed electronic sounds or with out them, with minimum 2 channels of audio and maximum 16 channels.
Antonio Russek´s musical activity has been always tied to the scenic arts and to interdisciplinary events, music and sound design for museums and galleries, video art, sound installation, cinema and interactive instruments.
With a knowlodgable trayectorie and more than 100 compositions in his catalog,

5) 20:12 - Electroacoustic Music (3’12’’/2012/China Premiere)
Composer: Elías Puc (Mexico)

Electroacoustic miniature. Here, I unfold a musical discourse with sound material taken from the July 2012 presidential elections. In the development of this work, we find sounds of voices, political speeches, music from the student movement Yo soy #132, and others. The composition seeks for interaction, starting from the personality and behavior of sound within itself and with the other sounds presented.

Unit 4-Spanish Federation
1) Sir George (2008) - 8 channel electronic music (8’48” /2008/China Premiere)
Composer: Ricardo Climent (Spain)
Many of us who grew up in the Sixties and Seventies developed a taste for the quirky characteristics of analog sound. Vinyl records, reel-to-reel magneto-phones and record players had a place in our homes (some even built inside daddy's wood-finished cocktail cabinet...!) until they sadly became visual ghosts of our sonic memories. I bought some music only because I liked the LP cover and I spent many hours trying to rescue my favourite iron oxide tapes stock in the cassette player. The fans phenomena, screams and desperate cries played a key role in live concerts, cheering pop stars who used to run down the street fearing for their lives. With the arrival of digital CD technology, music quality and portability gained in many aspects, however, I think not only lost the sense of cultural identity of the analogue era; but we also lost something of ourselves.
The Sixties had a sound which I love and it was probably one of the most experimental periods in the history of Rock Music. Music producer Sir George Martin, also known as the fifth Beatle, was a sonic visionary who invented from Abbey Road Recording Studios, a machine of dreams and probably discovered the world of analogue sound, as we understand it today.
Sir George is a Fixed-media composition seerving as a point of encounter between legendary British pop-rock sound and transitorized contemporary computer music synthesis of today. It is a journey riding on top of a turntable´s needle, redescovering the sound flavour of tube-operated mixing consoles combined with classic outboard gear and four-track one-inch recorders and confronting it with a glitchy hi-tech computerized sonic scenario.
Although one may argue that Sir George is place for dreams and nostalgia, it is more my compositional exploration of a sound and past with a magnificent fingerprin

2) Campanas para una celebración (Bells for a celebration) – 8 channel electronic music (2’18’’/2012/China Premiere)
Composer: Andres Lewin (Spain)
A set of modes and sounds akin to bells to celebrate 25 years of the Spanish Electroacoustical Association

3) ETUDE DE SONS - 8 channel electronic music (12’36’’/2009/China Premiere)
Composer: Gregorio Jiménez (Spain)
Courts sons, longs sons.
Sons qui se déplacent….
Sons concrets, sons abstraits.
Sons qui s'approchent .......
Sons graves, sons aigus.
Sons rythmiques…
Sons brillants, sons opaques.
Etude de sons….

This piece has been comissioned by the Institute of Music Electroacosutic of Bourges (IMEB) in 2009, and It was composed in Charibde studio. It was finalist in Destellos composition contest in Argentina.

4) Extrusion - 8 channel electronic music (9’06’’/2010/China Premiere)
Composer: Ángel Arranz Moreno (Spain)
Extrusion is the second piece of the series entitled [d]espacio, a series of four Electronic pieces on fixed format, composed between 2009 and 2012 with visuals of Beatriz del Saz. The series takes as a compositional models four avanti-garde Spanish buildings. Extrusions is inspired by the design of Bodegas Marqués de Riscal by Frank Gehry. In the recital will be listened to a version only for sound.
Extrusion describes the action of to extrude, that is, to mould something by industrial means. Alike its architectural model, the piece presents a series of materials, which express themselves by means of curves. These curves develop as temporally as spatially, try gradually to change the listener’s acoustic perception of he/she environment.
Several solid, almost mechanical materials articulate the piece in both aspects: the physical distributions of sounds, as well as their own temporal [in]coherence. These materials create a sort of hard cast, each time more elastic, as a kind of machinery that gets smoother. From there you get firstly a multiplicity of aural perspectives from the same object, and secondly, a [re]creation of the external/physical spaces, which contributes to play with different illusions of the hall through very light differences of localization of sounds into space. Paradoxically, although the piece is literally invaded by a sort of dynamic, alternated grid of sounds, it is superimposed a measured series, almost static, which consists on regular dislocations. The meeting of both realities –dynamic time and static time- prefigures a compositional vehicle that handles the illusion of real movement, as if the entire space turns around whilst listening occurs.
Related to Helikopter-Streichquartett, a deconstructed quotation from Stockhausen appears in German among textural grids: “I have not any philosophy, but during all my life I dreamt that I flew, that I knew what to fly was”.

5) Ticks, cracks, chops & others glamorous - 8 channel electronic music (4'33'’/2011/China Premiere)
Composer: Carlos D. Perales (Spain)
In the name of John Cage and following the Alvin Lucier words, I could say: dduit, sooyof, gluatf, zheeej, ifnn, chyiurrr, pooh, mmmn, shhjjz, phthkh...