Recorded in Bern, HKB
Luis Azcona, Feb 2021

Audio mixing: Beat Müller
Artwork: Barnett Newman

Transience for solo marimba - Jason Eckardt

Documentary about the work produced by Ensemble Musikfabrik (YouTube):
https://www.youtube.com/watch?si=_8cce8Z-Nkixqwgf&v=BFrIfk4Bl0s&feature=youtu.be

Turgut Erçetin, composer/interview
Carl Rosman, clarinet/interview
Aaron Cassidy, conductor

Hans Fahr, video/editing
Commissioned by Kunststiftung NRW and Ensemble Musikfabrik

image credit: Photograph by Félix Bonfils, 1875

"Thousand Dead Bodies Under My Bed, All Cloaked with the Breath of the Living"

Dmitry Timofeev "Night in the city"

Yamaha piano       Natalia Soloveva
Sound                    Kira Malevskaya

Recorded and mixed in the studio "Melody"
St. Catherine's Lutheran Church
St. Petersburg
04/14/2022

Night In The City

ACOUSTIC-SPATIAL MIRAGES 2022-2023

Mirage I. Water reservoire in Bruderholz, Basel, Switzerland
For ensemble, performers and field recordings

Audio and video recordings were made in Switzerland (Basel Land, water reservoire in Bruderholz) during “Pro Helvetia” research trip in 2021 and in Russia (Moscow, Rachmaninov Hall of Moscow Tchaikovsky Conservatory

Paradoxically, a mirage is not a deception or a hallucination – it is a vision that is related to physical reality. Sometimes, the reality may disappear (literally or metaphorically), but the reflection remains. A mirage "reflects" a distant world. To reproduce means to “read” and bring closer from the distant, ghostly world (invisible, incorporeal) to the close, “existing” and corporeal world.

The basis of the structure of the mirage is simultaneity. By simultaneity, I mean the superposition of two space-territories: pre-recorded (or modeled by analogy) and space-territory on which the “reflection” is presented.
The viewer finds himself in a situation of simultaneity of two space-territories: the territory of the acoustic phenomenon is superimposed on the territory of "reflection".

At the same time, the viewer is also faced with the simultaneity of fiction and reality. By fiction here I mean the media reproduction of an acoustic-spatial phenomenon - what the viewer hears (in the recording) and sees. However, one’s perception also flickers and tosses between what is considered fictitious and what is "real", since neither one nor the other is precisely defined. When the spaces mix, fiction ceases to be only fiction, and reality ceases to be only reality. They return their uncertainty, which allows a space to be pushed apart, to deprive “this” space of its density, to turn it into a portal to other real places, discovering a shift: whether it is reality becoming fiction or whether it is fiction becoming reality.

ACOUSTIC-SPATIAL MIRAGES: Mirage I. Bruderholz

Fated Nines - Jason Eckardt (Amorsima Trio)

I’ve came to the idea of a new piece after the impact given by Marc Chagall canvases, where the image of the time is engraved. It is the image of the time and not the time as itself. One can see the formula of this image at the clock-face where hands time the equal sections in different directions. They represent 10 hours (Roman numeral X) and 10 minutes (Roman numeral II). These sections are equal quantitatively as if it would be a draft, but not qualitatively. As used here a minute is just a little movement of the minute-hand while 60 seconds are the complete circle, which the hand radius passes by. It means that equivalent in quality they are not equivalent in quantity. Looking at the clock-face we can time or fix the time only numerically at the moment of a glance, setting hands position as well as engraving the image of the time. On the contrary we are not capable to catch the qualitative changes of the time, its flow. We can just turn it into the gesture, for instance, the gesture of the minute-hand. And then it’s no more the image of the “now”, but the image of the “no more now” or the “not yet now”. The number of musicians in the piece corresponds with the numbers on the clock-face or to tell it fairer with the point placed in the middle of two sections Х and II and simultaneously equal to their total sum, i.e. to XII.  The whole ensemble is a specific clock mechanism with invisible hands which are being replaced in the circle or stopped with the glance of observer from time to time. 

Chagall's clock for 12 instruments

"...und das Schiff fährt" for double bass and electronic 
Double bass - Grigory Krotenko

...und das Schiff fährt

"RotundA: acoustic portrait"
*russian is below

The rotunda of the Great Hall of the Moscow Conservatory is a unique architectural form with unique acoustics. This is the intersection of the audible and the inaudible at the point of their random meeting - distortion, gap in reality. At this point, what is usually hidden  - sounds, as if architecture “appeals” to your ears. You take a step and: “listen to” rotunda - rotunda “listen to” you.

“Acoustic portrait” means listening to a place and dialogue with the place, awakening his voice, playing with sound and his behavior. This is a silent place, like a living instrument that calls for it to be heard, bowed over it, hit it with a stick, breathed in air or sang. This is an opportunity to think of this place as a musical instrument.

Performers:
Ekaterina Palagina
Daniil Zudinov
Xingyu Long
Elizabeth Zgirskaya
Ivan Manko
Timofey Shatny
Pavel Polyakov
Dmitry Efremov
Olga Bochihina

The author of the idea and the curator of the project  - Olga Bochihina


«РотондА:  акустический портрет» 

Ротонда Большого зала Московской консерватории  - уникальное архитектурное сооружение, обладающее уникальной акустикой. Это место пересечения слышимого и неслышимого в точке их случайной встречи – искажение, gap в реальности. В этой точке звучит то, что обычно скрыто,  архитектура словно «взывает» к твоему слуху. Ты делаешь шаг и: «слышишь» ротонду  – ротонда «слышит» тебя. 

«Акустический портрет» означает вслушивание в место и диалог с местом, пробуждение его голоса, игру со звуком и его поведением. Это безмолвное место, как живой инструмент, которое взывает к тому, чтобы его услышали, провели по нему смычком, ударили палочкой, вдохнули воздух или запели. Это возможность помыслить это место как музыкальный инструмент. 

Команда участников:
Екатерина Палагина,
Даниил Зудинов,
Синюй Лу
Елизавета Згирская
Иван Манько
Тимофей Шатный
Павел Поляков
Дмитрий Ефремов
Ольга Бочихина

Автор идеи  и куратор проекта – Ольга Бочихина

Rotunda Soundscape III (collective work)

Rotunda Soundscape II (collective work)

Direct music #39 Margarita Kornilova

Anastasia Bondareva, mezzo-soprano
Olga Vorobyeva, piano
Ilya Karpov, sound engineer


Paul Celan
PSALM

Niemand knetet uns wieder aus Erde und Lehm,
niemand bespricht unseren Staub.
Niemand.

Gelobt seist du, Niemand.
Dir zulieb wollen
wir blühn.
Dir
entgegen.

Ein Nichts
waren wir, sind wir, werden
wir bleiben, blühend:
die Nichts-, die
Niemandsrose.

Mit
dem Griffel seelenhell,
dem Staubfaden himmelswüst,
der Krone rot
vom Purpurwort, das wir sangen
über, o über
dem Dorn.


Пауль Целан
ПСАЛОМ

Никто не вылепит нас вновь из земли и глины.
Никто не станет хранить наш прах.
Никто.

Храни же свято заветы, Никто.
Ради тебя
распускается
алый бутон.
Навстречу тебе.

Ничто
мы есть, были и будем,
Мы, сущие и цветущие:
Роза-Никто, Роза-
Ничто.

Это поет
светлое сердце —
пестик, опыленный пустынным небом,
багряный цветок
с лепестками пурпуровых слов,
поет и всегда
над, о, над
шипами.

(Перевод Игоря Болычева)

Psalm

Hi! Listen my new music here:

https://youtube.com/@DmitryTimofeev/playlists

Night In The City

Dmitry Timofeev

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