Esos silencios (Those silences) are the silences of our daily vital experience of the seventies in almost all Latin America. "They are there but they aren't", I write for the first public performance. "We do not desire them, but they surround us always, until we finally succeed in breaking them". The piece was composed in 1978 and was revised in 1981. It was born at the same studio using exclusively materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu地 Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar誕 Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda L用ez meant to me.
In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions, a fact that will appear accentuated in Apruebo el sol.
Esos silencios has been realised in Elac, peque撲 estudio de Montevideo, a modest cooperative installation. The materials of departure have been produced by the author.
When reproducing this composition please take into consideration the following suggestion: Esos silencios is very piano. Please adjust volume making inaudible the hiss of the original analogic tape. The piece is monophonic.
Mapping is a piece that depicts the slow evolution of a landscape: it leads the listener through unknown territory, arriving at landing points from time to time by means of transformed sounds from the real world. The work unfolds structurally as material emerges and is incorporated into the musical fabric.
Some of the material is slowly transformed through the work, while other parts remain unchanged, serving as points of reference. More generally the work deals with the notion of "beginning" and the perception of objects over time.
This work was written as part of a multimedia performance by the Mohican Blue Dance Co. for three dancers, three video projections and electroacoustic sound. The work was inspired was the triptych paintings of Francis Bacon. The sound was constructed from the sounds of the dancers during improvisation sessions. This current version is a shortened concert version of the original dance presentation.
Realised at the studios of EMS Sweden and the University of East Anglia.
dur. : 14' 25"
This work is based upon two sources: the poem Pagan Circus by Rose Dodd and the circus paintings of Frantisek Tichy. Tichy (1896-1961) was obsessed with the circus both as a phenomenon and the figures in it. In Tichy's paintings :
"The performers of these capricci have deformed faces, mushroom faces, elongated, bruised, nightmare faces, faces that melt into wicked sneers.... In the end tomfoolery merges with Grand-Guignol and lowering Prague becomes a satanic circus in which clowns flaunting bugbear mugs turn every act into a lugubrious rite, send us to the devil, to eternal fire, in ignem aeternum.' (Ripellino, 1995 : 275-277).
The idea of the circus being a satanic or dark rite is also to be found in Rose Dodd's poem, Pagan Circus. This poem was inspired by a performance given by La Fura Del Baus in Frankfurt,1990. This group combines circus and physical- theatre to create a circus -of-cruelty. By allowing the audience into the performing arena, the notion of safety is overturned lead into a heightened sense of physical experience and manifest it as an intense psychological expression.
Many thanks go to Rose Dodd, Bibi Heal, Sarah Long, Carolyn Sampson for providing the source materials for the work.
Clothed in the Soft Horizon presents an interplay between sounds constructed in the studio and their natural counterparts that are modelled after both individual water droplets and the motion of a wave that builds, crashes and breaks. This latter model permeates not only the overall structure of the work but also the spectromorphological design of many of the individual sounds.
Anecdotal references included in the work stem from the concept of a flow of ideas resulting from the simulation of the imagination by a given word, in this instance water. The work is not only a physical portrayal of the flow and motion of water but is also a personal response to it.
Melt est la description d'un voyage en train. L'oeuvre se base sur la médiation entre des extrémes :
- mouvement régulier puis en impulsion,
- sons bruts ou sons informatisés.
Melt est dessiné sur la base de 3 familles de sons :
-Enregistrement en direct de trains, d'annonces de métro et de la foule.
-Sons synthétisés qui sont modelés aprés le mouvement et ont les caractéristiques de sources naturelles.
-Sons synthétisés d'un monde de réve.
A travers le monde, les sons du monde réel se mélangent aux équivalences synthétiques du monde rové, comme un voyageur retombe dans et hors d'une journée de reuve. Chaque matériel employé dans cette oeuvre est unifié spectromorphologiquement, permettant de ce fait un degré important d'intégration entre les différents matériels sonores.
Im Rahmen des diesjährigen internationalen Donaufestivals in Krems haben Peter Weibel und das ZKM ein 3D-Rausch-Konzert zur Uraufführung gebracht. Es handelt sich dabei um eine Versuchsanordnung über die Zukunft des Konzerts als interaktive, multimediale Plastik.
Emilio Mendoza berichtet von seinen Studien zur Visual-Music Music mit Beispielen aus dem von ihm ins Leben gerufenen Forschungsprojekt AVIA − Audio Visual Integrated Art.
Metallika Glypta III, est la 3e version sortie d'une serie de 3 ouvres sous le meme titre, a ete ecrite en fovrier 1972. Leur traitement et la realisation finale ont ete faits dans le studio de l'auteur.
L'exposition de sculpture de Loukoupoulos (1972) etait le point de depart de e Metallika Glypta. L'idee d'utiliser des sons pris exclusivement sur les sculptures de metal etait un stimulus particulirement provocant. L'activite musicale debuta au premier moment o fut rassemble le materiel sonore. Les idees sur les fabrications des sons etaient proconeues, ils vinrent l'un apres l'autre.
Chaque essai reussi souligne l'emotion du premier succes creatif. La meme emotion se trouvait dans les traitements posterieurs et leur inclusion en larges unites. La forme de l'oeuvre -fluente et evoluante sans arret- sert l'integration des idees musicales dans une composition qui n'a pas renie le materiau original. La sensation de metal est ainsi toujours presente.
"Un souffle, une ombre, un rien" constitue la premiére pie electroacoustique d' Ondrej Adamek.
Deux univers s'y coient, un organique et l'autre virtuel, habit par un geste proche de la musique instrumentale.
Dans cette pie Adamek n'utilise que les sons concrets, parfois assez naturels, ou parfois transforme.
