2013 Elektro Arts Program
First of all, thank you to all artists who have submitted their work! We have received numerous entries from England, United States, Italy, Canada, Netherlands, Germany, France, Scotland, Romania, Ireland, New Zealand, Greece, Brazil, and Finland for ELEKTRO ARTS Concert consideration. Selected works will be played back as one and continuous musical piece on October 7th, 2013 at 7 PM (EEST) at Diesel Club in Cluj-Napoca. Video will be projected live by artist Claudia Robles Angel.
|00:00||Francis Dhomont||Here and There (2003)|
|10:16||Aidan Deery||En Route (2012)|
|19:24||Mike Vernusky||Thou (2010)|
|26:24||Ciprian Gabriel Pop||Cyberwars Tales: I (2013) - world premiere|
|32:00||Clemens von Reusner||Sphären der Untätigkeit (Spheres Of Inactivity) (2013) - world premiere|
|41:44||João Pedro Oliveira||Mahakala Sadhana (1999)|
|51:48||Panayiotis Kokoras||Magic (2010)|
|1:01:36||John Nichols III||Gates (Kedesh-Naphtali) (2013) - world premiere|
|1:10:32||Cătălin Creţu||Breaths (2013) - world premiere|
Clemens von Reusner
Sphären der Untätigkeit is based upon a subharmonic multiple filtered sound development, which regains his original shape finally at the end of the piece. The individual sound figures are combined in a slow wave motion. In contrast the are deeply changed variations of pulses appearing in different acoustic rooms.
John Nichols III
Completed in 2013, Gates (Kedesh-Naphtali) is a stereophonic composition that was partly inspired the Pleiades constellation. A musical mapping of an image of the constellation occurs in the middle and at the conclusion of the composition. One can hear this depiction in the "wood block" timbres. The composition begins with a complimentary relationship between periodic and non-periodic sounds; the sustained sonorities are engraved with a variety of successive fleeting noises. The idea to overlay, or "etch" sustained sonorities with a variety of successive ephemeral noises was partly inspired by Luigi Russolo’s use of the term "sound" to describe an audio signal with periodicity and "noise" as the lack thereof. Although some of the "noises" in this composition may not be entirely in accordance with his definition, the contrast between the two ideas is apparent. In addition to this relationship, the composition generally balances active and static components between the first and second half. Finally, this work is meant to sonically express the salvation of individuality through the renunciation of egoism.
João Pedro Oliveira
Mahakala Sadhana is part of a group of 3 works called The Journey of Sounds, commissioned for the festivities of the 500th anniversary of the Portuguese discoveries. It was conceived as a western perspective about some musical traditions of the eastern countries. There is no intention to establish strict theoretical relations, but the pieces of the Journey of Sounds are the result of sound images suggested by these eastern traditions. Mahakala Sadhana is based on the musical tradition of Tibet Buddhism. The Mahakala Chak-she-pa is protector of the Darma, that removes all the obstacles and permits the achievement of full illumination.
The theme of Here and There is space itself. The title could have been "spatial planes" since different models of sound progression inside three spatial dimensions constitute the main theme. Acousmatic music relies on an "interpreter" in order to manage the spatialization, which in this case is accomplished by the pre-programming of Darren Copeland’s Audiobox to allow David Eagle to perform with the aXio software. Nevertheless the tonight version is a stereo remix. It is therefore a study. But a very liberal study that does is not meant to demonstrate or to deny lyricism. Formally, it is presented like a suite of short pieces in which the goal is multiple perceptions of the spatialized sounds. We can identify different types of spatial gestures: moving/still, punctual/plethoric, and near/far, as well as acoustic images that play on the localizations, trajectories, masses, and the sound textures, etc. However this principal of articulation, even if it represents the focus of the piece, doesn’t have to hinder the simple pleasure of the sound immersion.
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.
Thou was inspired by the writings of Joseph Campbell and is an exploration of public dreams and private myths. Harvested from the patterns of mythological narratives across cultures of the world, Thou embraces a fundamental storytelling structure which has survived and developed across thousands of years. Through a succession of trials and thresholds, the music of Thou allows the listener to follow the Hero's Path on an outward journey of inward formation. Thou is both a personal and universal autobiography that follows the thread of the mono-myth, also known as the hero-path. Its sound material is derived from a variety of manipulated sonic impulses consisting of performers, found objects, and field environments.
Transport leaves a continuous trace on the soundscape and acts as a consistent "keynote" of the urban sonic environment – providing an element of familiarity on the daily commute. Little attention is paid to these vociferous sounds, but by fragmenting distinctive acoustic features of familiarity within a new context they acquire new significance. En Route attempts to tease out musical ideas from this daily experience. All sounds were recorded in Belfast, Northern Ireland.
Ciprian Gabriel Pop
Cyberwars Tales: I is part of a series of 7 electronic music works. Each work in this series is a sound suggestion of a tale of a imaginary conflict based on cyber technologies. Sound material of this work consists in manipulating a sound library containing town audio samples rendered with percussion samples. There are also sound textures built with sound events containing both samples and synthetic sounds. The composition technique is quasi-classical, electronic media tools being regarded as similar to acoustic instruments with a clear predefined score. Sound world created by this first "tale" suggests fast, dynamic images (fight, rush, run) but also still tensewaiting images (fear, ambush, uncertainty, despair, abandon).