Hello, by Alexander Schubert (2014) For {any number of} instruments, live-electronics and video
Excerpts from composer’s notes:
The piece is audio-visual. It’s basically a video that is accompanied by the instruments. The video consists of video recordings of the composer performing certain actions / gestures. These gestures are notated in the score as well and need to be interpreted by the musicians (as musical events – not as theatrical actions / physical movement – the idea is to find corresponding or contrasting music events for the given gestures).
The piece is really based on the video and the electronics in the tape, meaning that in the rehearsal progress, rather use the video as an orientation and not the only the score. The score is a tool to make it easier to play along with the video, but eventually the video is the real score.
The piece can be played more or less by any combination of instruments. It is advised to have at least four players, one of which is a piano/guitar/accordion or similar to play chords. Also a percussionist should be included. For combinations that do not fall into this description please contact the composer to check.
You are invited to use other small instruments or props other than those found in your ensemble. For example toy instruments, everyday household tools or found objects. Chose these instruments in order to fit a given video gesture you want to accompany.
Dispacci dal fronte interno [Dispatches from the homefront] is a work by Andrea Valle for feedback system including ad libitum strings, printer and live electronics.
Audio from strings, printers and environment is not only manipulated live, but some features are extracted and used to control not only the same sound processing but also the real-time generation and print on the fly of musical notation to be performed by the player.
In short, the performer receives “dispatches” which content depends on what s/he is playing.
From SONIC SCREENS, an event by U.S.O. Project (Matteo Milani, Federico Placidi) in collaboration with O’ and Die Schachtel
Milan, 01/12/2012
An excerpt from the premiere by:
Èdua Amarilla Zádory – Violin
Ana Topalovic – Violoncello
Since I have just updated some posts on bird songs and Messiaen’s interpretation of them, I thought I’d post his Little Bird Sketches in the 1985 version for a piano (there is also a version for two pianos).
Messiaen had already found the convergence between his two passions, ornithology and music. Already in 1951 he had composed a virtuoso piece for flute and piano used as an admission test for flute at the Paris conservatory (remember that the Paris conservatory is at a higher level and is equivalent to our own specialization academy). The piece was called Le merle noir and is his first work entirely inspired by the song of a bird (some fragments were included in previous works).
In 1953 he composed Réveil des oiseaux (The awakening of the birds) for orchestra, composed almost exclusively of transcriptions of the songs of the birds that the author could hear between midnight and noon in the mountains of the Jura Massif.
From this time he got into the habit of incorporating these transcriptions in all his works, as well as writing collections entirely dedicated to this subject (Oiseaux exotiques (Exotic birds) for piano and chamber orchestra, 1955-1956, La Chouette hulotte for piano, 1956, the monumental Catalog d’oiseaux (Catalog of birds) for piano, 1956-1958, La Fauvette des Jardins for piano, 1970-1972, Un Vitrail et des oiseaux (A stained glass and birds) for piano and orchestra, 1986, up to these Petites esquisses d’oiseaux (Little sketches of birds) for one or two pianos, 1985-1987). As works they are not simply collections of transcriptions, but real symphonic poems. Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any of the composers who had preceded him, and a more attentive musical observer of birdsong than all previous ornithologists.
Indeed, Messiaen’s transcription work is accurate and takes into account musical problems that often escape scientific ornithology. He himself explains:
The bird, being much smaller than we are, with a heart that beats faster and nervous reactions much faster, sings at extremely fast tempos which are absolutely impossible for our instruments; therefore I am obliged to transcribe it at a slower tempo. Moreover, this speed is associated with extreme acuity, being a bird able to sing in such high registers as to be inaccessible to our instruments; therefore I transcribe the song one, two or even three octaves below. And that’s not all: for the same reason I am obliged to suppress those too small intervals that our instruments could not play. So I replace these intervals of the order of one or two paragraphs with semitones, but respecting the scale of values between the different intervals, that is, if any paragraph corresponds to a semitone, then a true semitone will correspond to a whole tone or an interval of third; everything is enlarged, but the ratios remain unchanged, nevertheless what I give is correct.
Petites esquisses d’oiseaux (1985) – Håkan Austbø, piano
Le Rouge-gorge (erithacus rubecula – pettirosso)
Le Merle noir (turdus merula – merlo)
Le Rouge-gorge
La Grive musicienne (turdus ericetorum sinonimo di turdus philomelos – tordo bottaccio)
Le Rouge-gorge
L’Alouette des champs (alauda arvensis – allodola)
Anthèmes refers to two related compositions for violin by French composer Pierre Boulez: Anthèmes I and Anthèmes II.
Anthèmes I is a short piece (c. 9 minutes) for solo violin, commissioned by the 1991 Yehudi Menuhin Violin Competition, and dedicated to Universal Edition’s director Alfred Schlee for his 90th birthday. In 1994, Boulez revised and expanded Anthèmes I into a version for violin and live electronics at IRCAM, resulting in Anthèmes II (c. 18 minutes duration), produced in 1997. (Expansion and revision of earlier works is common in Boulez’s compositional process; see also Structures.)
The title is a hybrid of the French “thèmes” (themes) and the English “anthem”. It is also a play on words with ‘anti-thematicism ‘: “Anthèmes” reunites the “anti” with the “thematic”, and demonstrates Boulez’s re-acceptance of (loose) thematicism following a long period of staunch opposition to it (Goldman 2001, 116–17).
Anthèmes I owes its structure to inspiration Boulez drew from childhood memories of Lent-time Catholic church services, in which the (acrostic) verses of the Jeremiah Lamentations were intoned: Hebrew letters enumerating the verses, and the verses themselves in Latin. Boulez creates two similarly distinct sonic worlds in the work: the Hebrew enumerations become long static or gliding harmonic tones, and the Latin verses become sections that are contrasting action-packed and articulated (though Boulez says that the piece bears no reference to the content of the verses, and takes as its basis solely the idea of two contrasting sonic language-worlds) (Goldman 2001, 119). The piece begins with a seven-tone motive, and trill on the note D: these are the fundamental motives used in its composition. It is also in seven sections: a short introduction, followed by six “verses”, each “verse” preceded by a harmonic-tone “enumeration”. The last section is the longest, culminating in a dialogue between four distinct “characters”, and the piece closes with the two “languages” gradually melding into one as the intervals finally center around the note D and close into a trill, and then a single harmonic. A final “col legno battuto” ends the piece in Boulez’s characteristic witty humour, a gesture of “That’s enough for now! See you later!” (Goldman 2001, 83, 118). [from wikipedia]
Andrew Gerzso has for many years been the composer’s chief collaborator on works involving live electronics and the two men regularly discuss their work together. He describes the way in which all the nuances in this nucleus of works were examined in the studio in order to find out which elements could be electronically processed and differentiated. As a result, the process of expanding these works is based not only on abstract structural considerations (such as the questions as to how it may be possible to use electronic procedures to spatialize and to merge or separate specific complexes of sound),but also on concrete considerations bound up with performing practice: in a word, on the way in which the instrument’s technical possibilities may be developed along figurative lines.
IMHO, it is quite clear that the electroacoustic is limited to “dress” the instrumental part, albeit with effects well made. Anthème II is not a real electroacoustic composition and even a revision of the original. But it’s really helpful to students. See also this good page from IRCAM and this one with Max patches.
Today is the birthday of Robert Allen Zimmerman, aka Bob Dylan (Duluth, May 24, 1941).
Here he is in 1964, aged 23, at the Newport Folk Festival and recently at the David Letterman show with a song from the last album where he interprets songs by Frank Sinatra.
