MUSIC > Electroacoustic & Beyond Vol.2
Artist: Various Artists
Title: Electroacoustic & Beyond Vol. 2
Release Date: 10 Nov 2017
Label: RMN Classical
Catalog Ref: CLS170901
Electroacoustic & Beyond Vol.2
|1||Bartosz Bludau||Part:cles - Energy||02:55|
|2||Fernando Laub||The Dam||03:33|
|3||Marco Molteni||Rubber, Lime and Glue||01:20|
|6||Paolo Geminiani||Risonanze Metalliche I||03:39|
|7||Chris Malloy||Against the Odds||03:59|
|8||Juan Manuel Abras||Un Réquiem Lorquiano||04:20|
Part:icles – Energy is the opening tracks of the suite titled Part:icles inspired by Nikola Tesla and written for Violin, Trombone, Voice and Electronics. Other pieces of the suite (not included in this release) are Vibration, Frequency and Fractal.
This is a brief mixed media piece for tape, piano, flute and cello. It is about a composition that describes two phases. At first a stage of accumulation and in second place a moment of explosion and liberation. Inspired by observing a containment dam located in a mountain stream, 2003.
The acousmatic piece “Rubber, Lime and Glue (ePWsM 04)” was composed in 2012 and is part of a series of short or medium lengths pieces (ePWsM) using patchwork technique. New recordings or scraps of my previous works (acoustic or electronic) are mounted with extreme care of the detail (a fragment can last only one second). In a second phase, two or more pieces of the “ePWsM” series can be further processed and mounted to obtain a new piece.
A piece created using only acousmatic processing of short samples of various types of “horns,” including an airhorn, a train whistle and a Finnish folk instrument. During the composition of the work other types of synthesis have been used as well.
A climactic ‘clack,’ then a steady, spinning decay – this is the noise associated with a spinning top flung across a flat surface. This wondrously balanced object is celebrated in all its splendour throughout the work. Spin belongs to a larger suite of pieces, each of which feature the evocative sonorities of much beloved, mechanical toys from childhood.
The meditative quality of a spinning top is observed in this work, which presents the object from a wide variety of perspectives, and brings the listener into a gesturally enriched realm. Unprocessed sounds are blended with manifold transformations, creating an uncanny vision of a spinning top which contorts, divides, and traverses along an erratic trajectory as it unwinds.
This composition has been created using sounds derived from four different materials: wood, plastic, nylon and metal.
The objects from which the sounds has been taken are: boundle of keys, block of wood, a plastic box, nylon shopping-basket.
Progressive digital processing transformed the original sound through by applying time stretching, harmonic and inharmonic filter banks, reaching a long pedal of sounds toward the end of the work.
“Against the Odds” is for solo clarinet, combined with a collection of synthetic sounds derived from that instrument’s timbral structure. The clarinetist plays from an animated score, making it possible to synchronize events with extreme
precision. The clarinet material corresponds to traditional phrasing, at times creating an illusion of improvising. Most of the animated score is governed by an algorithm that exaggerates extremes of continuity and discontinuity.
The clarinet opens with a quiet, plaintive tune in its lowest range. When the tune reaches a cadential moment, the synthetic sounds force their way in. They start with simple timbres, gradually progressing toward chaos and complexity. An eerie choral drone accompanies a series of phrases that build in duration and intensity as the clarinet climbs toward its highest, loudest notes. After a few last, synthetic gasps, the piece gradually returns to the tranquillity of its opening.
Composed by Dr Juan Manuel Abras in 2009, ‘Un réquiem lorquiano’ is an electroacoustic work inspired by Federico García Lorca’s poem ‘Balada de la placeta’. Through his music, Abras resignifies Lorca’s text as a pre-mortem hallucination in which past, present and future converge into an altered perception of reality. Conceived as a partially ekphrastic musical manifestation, the work’s sound objects respect Lorca’s referentiality, generating a soundscape articulated around a palette of characteristic Andalusian sound sources. The sound materials unroll over time (which is structured according to the proportions of Lorca’s poem) and space (which is arranged in sound planes of opposite functions and levels of duration and relevance), while achieving a contextual meaning: on the one hand, by evoking and resignifying the Lorquian references (to the physiologic, the macabre, the religious); on the other, by relating themselves to previous and subsequent materials within a sound universe arisen from a poiesis that evokes the Schaefferian essence. ‘Un réquiem lorquiano’ was selected by Soundiff-Diffrazioni Sonore and premiered at the Associazione Cultura e Musica G. Curci of Barletta, Italy, by Nicola Monopoli (interactive sound diffusion) on 4 January 2014.