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Banabila & Machinefabriek : Travelog (snippets)

Mibifnim

from the album diagonalog, available now on bandcamp.

Miles Of Silence

Maria Khodina: violin
Nadezhda Grebennikova: cello
Presented by Anton Rovner at K.M. Simonov Library, Moscow

In mirror canons, if either player's part were held flat before a mirror the other player's part would be seen in the reflection, with the middle line of the five-line staff functioning as the fulcrum. Mirror canons and other such devices had their heyday many centuries ago — they aren't much in use now. Each of these canons adhere to the principal of precise inversion of every interval about the fulcrum with no adjustments. For the violinist, confined to the treble clef, the fulcrum line is always B. By contrast the cellist reads three clefs, bass, tenor and treble, for which the middle line is D, A and B, respectively. By exploiting these cello clefs throughout the canons, a pitch in one part may have any of three different pitches for its "reflection" in the other part. All this admits of many modal, tonal and atonal implications for the listener, not to mention challenges for the performer.

With the exception of the third, central canon, one instrument enters first and the other follows by a strict number of quarter notes: eight for the first canon, seven for the second and fourth, and five for the fifth. In the third canon the instruments enter simultaneously and are rhythmically entrained throughout except for a 19-bar "antique style" section in the middle. The fifth and final canon closes with a "andante sollegiato" (sunlit) that, due to a discovery of pinning the violin against the cello written in tenor clef and limiting to particular intervals, resolves itself in a timeless-sounding modal D. I was surprised and moved by this discovery which arose entirely from the method and not from myself, so I dedicated the closing to the memory of our little orange cat, the Samsquamtch, whose sweetness I think shines through.  

Score available through American Composers Association.

NYCC 2023/05/21 — "Musical Bridges" Moscow

II. Allegro non troppo ma con brio

korg polysix + korg polysix

one on arp, I can't remember what it was going through...might have been MFB Filterbox and Nord Modular.

the other P6 playing the pads was going through the yamaha fx500.  i played this vibe for about 10 minutes, if you want the full version send me a message or comment here...i'll upload it so you can download.

korg polysix + korg polysix

PORTOFINO Señor

for clarinet, violin, viola, violoncello, piano and electronics (7.1) 2010

counter)induction (NY)  http://counterinduction.com

road, river and rail is not only a musical composition in the usual sense. It is also a sort of multi-interaction on different levels between real and virtual life. These interaction-levels comprise, not only a performance-interaction, but also an interactive creation by the composition process as well as by the interpretation. The concepts of reality and virtuality are here applied to the two sides of the composition: the acoustic and the electronic one.

road, river and rail

Multichannel acousmatic composition (9.1) (2008).

The present version is a stereo arrangement.

"The Other Side" was conceived for the opening week of the new concert hall of the university of music "Carl Maria von Weber" in Dresden (Germany). For the composition of this work I exploited specially the electroacoustic possibilities of the hall and considered the geometrical peculiarities of its room: Since the public range is rather widthwise as lengthwise oriented and very irregularly positioned, a multichannel electroacoustic composition cannot start out from a "central hearing perspective". The audio equipment of the hall makes possible a different organization of the spatial structure in each hearing position. This idea was for me the central task during the realization of the composition concept. I took full advantage of the spatial configuration of the hall particularly by means of sound movements: The listener participates through the moving and merging of the sound in different spaces, which bring him to different acoustic levels.

As raw material I used high-quality audio samples, which already contain a musical meaning by itself and whose constellation only in a university of music is to be found: an orchestra, a choir, an electric guitar… I processed this samples with the computer and merged them in the composition with the originals. The combination of raw and finished materials forms the dramaturgy of the work.

The other side

풍경 [pungkyeong] is an electroacoustic composition in two movements, written in 2004 & 2007.

I was inspired by some impressions from the country of Korea to this work: Colors, smells, sounds, atmospheric sensations… My subjective interpretation of these inner pictures build them into a soundscape.

As raw material for this work I used different Samples from the traditional Korean music, as well as from Korean temple bells and the quotidian life.

The structure of the work takes place on two levels: On the first level appear the original Samples, which seize the outside of my impressions and turn them into sounds, while on a second level there are the elaborated sounds, which interpret my internal pictures. These levels are combined in each part of the work according to different outlines: In the first part both levels run parallel and reinforce each other. In the second part the two levels are interlaced in an intricate dance.

II. Allegro non troppo ma con brio

David Mecionis

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