Electronic Music Concerts 2012> Le fil des mes Moires
Unit 9－Swiss Federation
1）Le fil des mes Moires - Electroacoustic Music (5’30” /2011/China Premiere)
Composer: Marcelo Ohara（Swiss）
“Le fil des mes Moires I” is an acousmatic piece whose title is a game of words refering to the memory and to the Moirae, which are, according to Greek mythology, the personification of destiny, responsible for the thread of life.
Acousmatic sounds and thoughts have much in common: the sounds are materialized in a fleeting, elusive way, apart from the act and the agent who produced them. As well as thoughts and memories, they cross our mind and our spirit, escaping from the desire of possessing them. At the same time, they still echo in our mind in a subliminal way, sometimes mysterious, influencing our life.
“Le fil des mes Moires” transits between imagination and reality.At the same time that the thread, woven by the Moirae, seems to keep us alive, it also refers to a state of lethargy.
During the piece, the existential question "Where does music go once it has been played?" made by the brazilian writer Clarice Lispector in Agua Viva, appears three times pronounced in morse code. Being codified, the phrase creates a sonorous and musical linking with the sinusoidal sounds and causes the similar effect of a question, arousing curiosity and mystery in relation to its meaning.
Le fil de mes Moires I was composed in the studio of the UCP (Catholic University of Portugal) – Porto-Portugal and in my private studio.
2) Une goutte d'eau (Drop – one drop) - for 2 loudspeakers (7’25’’/2008/China Premiere)
Composer: Pierre Thoma (Swiss)
The important is not what we hold in our hands, but what we do with it. 'Drop – one drop' is the challenge to realize an entire piece with the sound of one water drop lasting only a third of a second, without any other operations than cutting – copying – mixing (no other effects). The sounds are articulated with probability algorithms programmed by P.Thoma. The piece consists in 3 parts, following a variation of variation principle.
3) Feu de voix － Electroacoustic Music (12’12’’/2009/China Premiere)
Composer: Abril Padilla (Argentina)
All that changes quickly is explained by fire Gaston Bachelard starting point/motivational: The Psychoanalysis of Fire by Gaston Bachelard. Voice of the fire is that door as a message, and from the fire that exists in voice tone in a hoarse laugh or almost "charred" by the time. The materials used were made by the original sounds generated by electronic synthesis and other original sound recorded by the author and treated with GRM Tools.
Unit 10－Columbian Federation
1) Door of no return － Interactive electroacoustic (4’/2012/world premiere)
Composer: Alexandra Cárdenas Acosta (Colombia)
There is a door in West Africa through which thousands of slaved peoplepassed to face their destiny as human cargo. A door that once crossed never allowed to come back. This memorial in the coast of Senegal stands there to remind us of the many doors we have to cross to continue on living as an organism, to change as a society. No matter how cruel the reasons that make us cross, and the actions we have to make to cross them, in the end these crossings are what deﬁnes us.
Door of no return is a live electronics piece to be created in real time. It can last from 1 minute to 20 minutes, depending on the interpreter wish. There are 5 musical elements that are programmed to evolve automatically, and the interpreter is free to combine them at will.
2) de lo secreto en los rastros. Sections I and II － for Guitar and Electronic Music (10’10’’/2009-2010/China Premiere)
Composer: Fernando Rincón Estrada (Colombia)
The title of the piece serves as a description of the intended result sounding in the piece. A repetitive sequence of sonic events is transformed and processed in a subtle manner through an artefact, that lays traces which are fed back into the artefact as a cycle that repeats itself a few more times. The components of this artefact hold several sources: an amplified guitar, fixed media projected through loudspeakers and real time processing of those through a feedback of the sounding captured in situ, at the hall. The trace is fed back into the loop and is processed in different combinations and occurrences either by the hall, the microphones, and interventions from the guitar, live electronics or the audience. Two works from composers James Tenney and Alvin Lucier, served as starting points for this idea, “Having Never Written a Note for Percussion”(1971) and “I am sitting in a room”(1969), both of them use repeating sound cycles that are transformed through basic principles of dynamics (loudness), acoustics (instrument and hall) and electronics (microphones, speaker, recorder). The musical material used mainly in my piece are microtonal intervals obtained from equisonants found in different fundamentals of the open strings of the guitar and fingered pitches as well as three pitch clusters that are not very common to the sonority and idiom of the guitar. At the same time the real time performance involves a two-fold function of processing the acoustic guitar and the feedback captured from the microphones placed in the hall. There will always be a dramatic fragility associated to the performance of the piece since the balance between sources (guitar and loudspeakers) and components (microphones, concert hall) is what determines the result of the piece.
This work was commissioned and published by the Festival ‘en tiempo real. nuevos encuentros sonoros’, realized by the Foundation Espacio Cero.
3) a todo menos a nada － 8 channel Electronic Music (4’04’’ /2009/China Premiere)
Composer: Ana María Romano Gómez (Colombia)
a todo menos a nada was inspired in the film “En el hoyo”, realized by Mexican director Juan Carlos Rulfo in 2006, in his own words “the main character in the film is a bridge under construction and the second character is a group of people (the workers), those who only show their essence as human beings.”
The work uses microphone recordings taken in Bogotá, Morelia and Mexico City, in which it is possible to perceive the people and the cities in daily circumstances.
The piece is in 8 channels and was composed like part of the artistic residence at the CMMAS (Mexican Centre for Music and Sonic Art), Morelia, Michoacan, Mexico, with the support of Ministry of Culture of Colombia and FONCA (National for Culture and Arts Mexico) during June and July of 2009.
4) zikida buinaima, Roger Casement in memoriam [from the cycle Historias de Castigo, part IV] － 8 channel Electronic Music (4’/2011－2012/China Premiere)
Composer: Jorge G. García Moncada (Colombia)
zikida buinaima constitutes the second part of the cycle entitled Historias de Castigo - Yarocamena.
As stated in the title, the piece is dedicated to the memory of Sir Roger David Casement (Irish Gaelic: Ruairí Dáithí Mac Easmain, 1864 - 1916), one of the very few courageous men who actively denounced and stood against the enslavement and genocide of native populations during the rubber boom period of the late 19th and early 20th century in the Amazon. A victim of his own deluded nationalistic fervour, Casement was hanged for treason at the HM Prison Pentonville in London on 3 August 1916. His diaries and reports represent a milestone of [another] embarrassing episode in Western industrial civilisation and brought to light the extermination of entire native communities under the cruelty of the lash and the gun. May he be remembered, not for the later political actions which led to his execution, but for his humanitarian work and its historical legacy.
5) Freedom in Hot & Cold / Libertad en caliente y frío, expanded version V.Nr.3. － 8 channel Electronic Music (7’06’’/2010/China Premiere)
Composer: Catalina Peralta Cáceres (Colombia)
A part of the samples used, were recorded at one of the main streets of Bogotá, the Carrera 7th on Thursday the 5th of July 2007, during a very big natural manifestation of people of all kind of political thinking, as a protest against the assassination of 11 deputies from the region El Valle, that were kidnapped aprox. 9 years ago, they became hostages by the guerrilla group the Farc. People protested against the Farc, violence, kidnapping, war; they were asking for peace, for freedom.
The other samples were from the cold side of the world, ice breaking (token by Jens Hedman) and sound of dripping and running water (token by Natasha Barrett). This is the expanded version, V. Nr. 3.
Unit 11－Greek Federation
1) Brut－mono electroacoustic music (4’13” /2009/China Premiere)
Composer: Georgia SPIROPOULOS (Greece)
"Brut" has been composed for a Michel Nedjar's doll. The doll has taken part in the Allen S. Weiss'* installation "Danse Macabre II Peepshow" dedicated to the Holocaust. The installation was a black "cube" with 4 openings, one opening for each of Michel Nedjar's dolls. My idea was to attempt the horror of the Holocaust by means of the aural traditions: the alternation of "singing" and of "mourning". This constant opposition and co-existence of two ways of emotional and musical expression seemed to me the best way to attempt such an event that "... should never had happened. Something happened that nobody can get rid of" (Hannah Arendt).
The title of the piece refers both to Nedjar's "art brut" origins and to a music genre I call "poor electronics": a music which may exist in any acoustical conditions and without any "sound lifitng". The material comes from found sounds in LoFi recordings (Billie Holiday, Odetta) and from handmade sounds of "broken" loudspeakers, vinyl and e-bowed guitar. I mainly worked avoiding effects. I used abrupt cuts, pitch shifting, reversing, loops and "elementary" filters. These are all musical "actions" related to the turntablists praxis.
"Brut" has been premiered in Berlin at the In Transit - International Festival of Performing Arts 2009.
2) Scelsi – La vita interior－Electroacoustica Music (5’07’’/2009/China Premiere)
Composer: Vassilis ROUPAS (Greece)
Scelsi – La vita interiore is an acousmatic stereo piece composed in 2009 and premiered the same year in the “Electroacoustic Days” festival which took place in Kefalonia of Greece. As the name implies, the piece is inspired from the work of the Italian composer Giacinto Scelsi (1905-1988). It uses samples from Scelsi's work "Okanagon" (1968) as well as my own recorded sounds.
3) Magic－For Soprano and Electroacoustica Music (9’45’’/2010/China Premiere)
Composer: Panayiotis KOKORAS (Greece)
Any sufficiently advanced technology is indistinguishable from magic (Arthur Clarke, Profiles of the Future, 1962).
Magic was composed during a residency in the summer 2010 at the ZKM studios in Karlsruhe as part of the Giga-Hertz Production Award. It was a great opportunity for me to work for several weeks without destructions, in good facilities and focused exclusively on the piece. This tight and concentrated schedule gave me about 300 hours composing - divided by the duration of the piece you could get the speed of the composition process, about 3 second per hour -.
Magic is the third and last piece of a project entitled Grand Piano Trilogy. This trilogy is based upon the sound of the piano. The challenge of the trilogy is to expand the sonic possibilities of piano. The sound sources of the work come from around, below and inside the piano played in various unconventional virtuosic ways. Moreover, in this piece several excerpts from the piano repertoire are fused within the piece’s textures, among others Ravel’s Pavane, Beethoven’s Waldstein, Webern’s op27 and John Cage’s 4’ 33. Furthermore, sonic rhetorics link extra musical connotations, with musical processes through associations of ideas.
More than 600 sounds were connected on a note-to-note basis coming out of 7 hours of piano recordings, which I finally reduced to the duration of the piece. The sounds were further processed in order to achieve the virtuosity of the sound the piece required. The initial version of the piece has made for 32 channels and programed through Zirconium software for the Klangdom (sound dome) at ZKM. The title refers to a kind of experience, which is fascinating, charming, excellent, marvelous, exciting to a kind of experience, which is impossible to quantify and rationalize.
This piece was awarded the First Prize at the 4th Destelos International Competition of Electroacoustic Composition and Visual-music, Mar del Plata / Argentina, and a Honorable Mention at the Prix Ars Electronica 2011 – International Competition for CyberArts, Linz / Austria.
4) Arborescencesis－Electroacoustica Music (11’24’’/2008/China Premiere)
Composer：Aki PASOULAS (Greece)
Arborescences is a stereo acousmatic composition. The sound material derives from particular resonances and timbres produced by striking, rubbing and scraping an assortment of Gamelan instruments. Most of the sonic images in the piece are not recognisable as instrumental sounds because of the extended processing, which focuses on developing particular gestures and textures based on micro elements and groups of partials extracted from the recorded events.
The composition explores temporal syntax based on the composer’s research on timescales. Timescales at various points in the piece move at different pace, so that arborescent temporal structures move apart and then meet again. Periodicities turn into erratic behaviour and the opposite, undergoing a number of processes of change at the same time.
Arborescences received a special mention in the Métamorphoses 2008 international acousmatic composition competition, and was presented in numerous concerts, conferences and festivals around the world, including SMC in Portugal, ICMC in Canada, the Sonoimágenes festival in Argentina, the Sonic Rain concert series in Oregon USA, the International Exhibition at the BYTE Gallery in Lexington USA, the Electronic Spring Festival in Vienna, the RedSonic Festival in London, and the ISCM World New Music Days festival in Sydney, Australia.