MUSIC > Electroacoustic & Beyond Vol. 3
Title: Electroacoustic & Beyond Vol. 3
Release Date: 08 Dec 2017
Label: RMN Classical
Catalog Ref: CLS170902
Produced by R.Romano
Cover Design by RMN Classical
Electroacoustic & Beyond Vol. 3
|1||Diego Ratto||MicroEchoss I||03:03|
|2||John Wiggins||String II||04:34|
|3||Paolo Geminiani||Risonanze Metalliche III||04:20|
|4||Bartosz Bludau||Part:cles - Frequency||03:28|
|5||Julius Bucsis||The Message||02:38|
|7||Chin Ting Chan||Of Metals and Electrons||04:02|
|8||Robin Heifetz||Slings and Arrows III||02:39|
The piece is made by using only concrete sounds. It shows a conflict between the calm and the excited gestures. This dialogue is represented in the space divided by the picture and the background.
Furthermore, it is very important the management of the dynamics. The range is wide, to make the music become alive.
STRING II was made with “real” sounds – sounds that I recorded both in my studio and in the field. The composer then isolated and used the most complex bits of these recordings to represent something else. Everyone hears it differently because the sounds are familiar but out of context. What J. Wiggins does is to look for the unheard sound. After four months of recording and combining, layer, edit and mix the final composition together. The composer uses a process that is very much like filmmaking and he has adopted musique concrete techniques into his TV and film sound design work. STRING II was made between October and December 2016.
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.
Part:icles – Frequency is the third track 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, Energy and Fractal.
The Message was inspired by the idea of humanity receiving a communication from an extraterrestrial civilization. The piece is constructed of frequencies corresponding to several mathematical constants including pi, Euler’s number, and the square root of 2. It also utilizes the sequence of prime numbers and the golden ratio in its structure.
Look Down manipulates sound clips from NASA, ESA, LIGO (Laser Interferometer Gravitational-Wave Observatory) and LHC (Large Hadron Collider). Sonifications and recordings of massive black hole events in the observable universe, large events in our solar system, and quantum activity of Higgs Boson particles are brought together in one composition, combining those realms of general relativity and quantum mechanics which cannot yet be joined by human scientific knowledge.
Clips used: gravitational waves sent out from a pair of colliding and merging black holes, more than a billion light years from Earth, converted to sound waves; the sonification of the light curve of Kepler star KIC7671081B (in the search for habitable planets); radar echoes received by Huygens during its descent onto Titan converted into audible sounds; comet 67P emitting a ‘song’ in the form of oscillations in the magnetic field; cometary dust particles pelting NASA Stardust-NExT space probe, recorded by the Dust Flux Monitor which measures sound waves and electrical pulses from dust impacts; a ‘trail’ of the Leonids meteor shower from November 2000, blown around Earth’s atmosphere by the winds before being eventually dispersed; renderings of simulated Higgs Boson events in the ATLAS detector.
Composed partly with Trevor Wishart’s CDP (Composers Desktop Project) software.
Made partly with the CDP sound design software
This piece is based on the idea that the sound of electricity is consistently present in our everyday lives without us noticing them. A “silent” room with any object that can transfer currency is never truly silent. There is always an extremely high frequency that is, though normally unnoticeable and unseen, it is surprisingly present and “loud” if one really focuses his/her attention on listening to the sound. The closest sound that the here Chan associates to the sound just described is the resonant of any metal, which creates some very high overtones that approximate the sonic images of his “loud” room. To make a connection, metal is a conductor that can effectively transfer electric currency, and this is the theme to Of Metals and Electrons. This piece contains metal sounds that are stretched and layered, with which emerges a narrative that guides the listeners through these invisible sounds.
Slings and Arrows III was realised in the composer’s home studio in 2016 and the digital sounds were generated with REplayPLAYer software, a generative sound file shredder based on the paradigms of granular synthesis which deconstructed pre-existing Heifetz music files and recomposed them in a real-time interactive environment. The work
received its world premiere the same year during the Composers’ Talks No. 5 of the 3rd mise-en International Music Festival in New York City. It’s intended to be perceived as a powerful and hyperdramatic work.