Friday December 1, 2000

CONCERT 5 Instruments/Voice 7:00 PM 8:45 PM

Aldo Brizzi 1960 Italy

L’épreuve du labyrinthe 1995-96 0:06:30

For viola and tape - World Première: Lyon, Festival Music en Scene, 1996; Maurizio Barbetti. Tape realized on Grame Studios, Lyon Commissioned de French Ministry for Culture
CD "The Labyrinth Trial", Rara-Kho 1998

David Lawrence UK

Three little words 0:10:30

This sound piece fuses the thoughts, ideas and experiences of three creative visual artists — originating from Portugal, Iran and the UK — expressed in the spoken word. The three individual monologues are processed by digital synthesis and computer-based editing techniques to produce a work which forms a new conceptual identity - conceived by the interactions between the contributing raw elements and between the analogue and the synthesised digital derivatives.

The intertwining monologues consider three conceptual areas which are of particular personal significance to the individual contributors: time, history and memory; feeling and creativity; natural environment influence.

Beatriz Ferreyra 1937 Argentina/France

Echos 1978 0:08:30

With the voice of, and in homage to Victoria Lucca (the composer’s niece).

Christian Banasik 1963 Poland

… letze Gebärde offener Münder 1998 0:18:30

The poetic and tonal basis of this piece are two poems written by Michael Wüstefeld (a contemporary German writer) from his book Stadtplan (1990). The texts which were written in 1986 and 1987 in East Germany, describe numerous subjective situations, feelings and thoughts from the view of a townsman. The poems have been recorded with a female and male voice in a spoken and whispered way. After the preparations I worked with several variations, loops and alienations of the texts. The timbre of the different voices belongs to one plain which structures the piece. Furthermore I developed a text analysis form for the written words consisting of seven groups of phonemes. These groups combined with algorithmic models control the form of the piece and every single sound object.

Break 0:10:00

Hans Tutschku 1966 Germany

human — space — factory 1999 0:11:49

production: studio Musiques et Recherches Ohain. Dedicated to Annette vande Gorne. The sound sources for this composition are derived from sung and spoken human sounds and from recordings in factories. Some piano sounds are serving as a connection between these two sound worlds. The 8-channel space was not only used to place and move sounds but forms a link between the sound families : by changing space, the sound qualities go from one source to another. The 3 parts are describing different densities of space. Human sounds in an energetic space.

Délire Australia

acca_bunker.mod. 0:10:00

ACCA is converted into a bunker - refuge for the soundartist, if only temporarily. "This piece was designed especially for the Audiobox and incorporates acoustic modeling based on the actual gallery architecture. "The artist wishes to thank System Sound for the opportunity to use the Audiobox and for their programming support.

Diego Garro 1965 Italy

Six Dreaming Jewels 1999 0:10:10

Bright sounds, crisp resonance, sharp sonorities. Meta-materials as honed as diamonds; glowing like crystals. The Dreaming Jewels, in Theodore Sturgeon's novel, have the magic power of synthesising and duplicating living beings as by-products of their mysterious vagaries and nightmares. They are material. They are alive. They feel pain and go their own inscrutable way, leaving behind completed men and animals, along with unfinished jobs, maimed cats, blind mutants, freaks that society will always despise.

I decided to compose six sketches of tape music while reading this fairytale. I was struck by the sort of 'mysticism of things' which does not need a supernatural creator to transcend reality and explore what lies beyond it. Each object can be a riddle. Every instant can carry an enigma. Each being is a puzzle, for itself and for its fellow beings. And every sound is a conundrum when we sculpt it with our own hands…

Each of these abstract miniatures can be considered as self-contained electroacoustic chiselling. They can be played separately or in a different order, even though they work together as part of a whole, punctuated by cross-references, glimpses of call and echoes of response.

As in most pieces of mine, the materials were obtained with different techniques: computer-synthesis, FM timbre-design, processed voice and 'close-microphoned' events taking place in the recording room.

Nat Bates Australia

ALCHEMY 0:15:00

ALCHEMY is an improvised, potentially interactive, performance piece. Material is drawn from found sound; mostly field recordings (on DAT, CD and sampler) and on-location, live sampling via stereo microphone. A simple loop is created upon which is added layer upon layer. Being improvised, obviously the piece is different each time it is performed, the difference dependent firstly upon the on-location sound being continuously sampled and secondly upon my subsequent responses and choices made processing the pre-prepared material. As the work commences it presents the listener with the challenge to divorce the sounds from their physical origins and any associations, to hear them simply as sonic material. As the repetitive rhythm hypnotizes the listener, the piece gradually re/de-contextualises it's elements as they are processed live; molding and reshaping, multiple sound sources combining and separating and recombining again, until by the end of the piece the challenge is to recall the origins of the sounds. Furthermore the work is an attempt to reveal the musical potential of (indeed the musicality inherent in) all sound.