Massive, massive sound – fantastic production!! Really good stuff...

Трек створено на першому Mirage Camp.

Mirage Camp — освітній івент DTF Magazine, який пройшов 2021 року за підтримки бренду PUMA, для 30 електронних продюсерів з різних міст України. Місце, де в обміні й спільному навчанні народжується нова музика, а навичками та знаннями про роботу електронної сцени діляться її головні герої. 6 днів, 400 гектарів для пошуку звуків, 20 лекцій та воркшопів, понад 40 інсайдерів української електронної сцени та багато іншого. 

Mirage Camp в інcтаграмі — https://www.instagram.com/miragecamp/

Maryana Klochko — Song for Maddy

Simone Corti
"Compendium" for solo piano [2020]

Emanuele Torquati, piano
15.10.2021 @ Inter Arts Center_Malmö (Sweden)
for Sound Spaces 2021

Recording and audio editing: Alessandro Perini

Compendium

Ｃｏｍｐｅｎｄｉｕｍ

Recorded on 04.12.2021

Artists:
Maryana Klochko https://soundcloud.com/maryana-klochko
https://www.instagram.com/prizvyshche/

Kultura Zvuka Shkola:
shkola.kulturazvuka.ua/ru/
www.facebook.com/kulturazvuka.shkola
www.instagram.com/kulturazvuka.shkola/

Maryana Klochko — VITALNYA x BIORHYTHM #04 | Kultura Zvuka Shkola Kyiv

Vertical lights on lost bodies [excerpt] | for string quartet

Written for and performed by Quartetto Maurice | www.quartettomaurice.com/it

Co-commission Festival Milano Musica and Festival Musica in prossimità

Live recording @ Fabbrica del Vapore, Mllan | May 26th 2023 | Festival Milano Musica

𝐕𝐞𝐫𝐭𝐢𝐜𝐚𝐥 𝐥𝐢𝐠𝐡𝐭𝐬 𝐨𝐧 𝐥𝐨𝐬𝐭 𝐛𝐨𝐝𝐢𝐞𝐬 [Excerpt]

A Mother's Son

Angelus Novus (No. 2) is composed and produced 2003.
Published by nowitz-records as part of the CD HOMO LUDENS, 2010.
Composer and performer: Alex Nowitz.

The series of Angelus Novus works is inspired by the painting of same title by Paul Klee. 

All voices by Alex Nowitz. 
Angelus Novus (No. 2) was recorded in Toronto for the dance work Screaming Popes choreographed and directed by Marie-Josée Chartier.
Recording sound engineer: Rick Sacks.

HOMO LUDENS

Angelus Novus

любило дитя
непроглядну ніч
коли дзвоник
тане на морозі
коли різдвяні сльози
шкребуть пальчиком у стіну
        
любило дитя
світилося
в усіх непросохлих кутках
мало собі віястого царя
і коржиками з разовки
царя годувало
а в царя за плечима місто
а в царя на шиї намисто
а в царя на долоньці убивство
        
        
вертить цар залізне кружальце
а в кружальця
деренчать жальця
вжалить жальце у вію
і мамине серце скаменіє
        
а заберіть вицвілого царя
нехай я засну
      
      »
Уривок з
Князь роси. Вибране
Тарас Мельничук

нехай я засну

Can Beethoven be compared to electroacoustic music today? This is the first thought that led us to imagine this concert.

The solution can also be trivial, just place a Beethoven piece and any electronic piece together and that’s it! But we wanted to create a deeper relationship, a concert that truly united two genres of music, one present and one past, we wanted one to flow from the other, that music created today, with today’s means, would derive from that past that we all consider glorious but, “precisely” past, no longer belonging to our time. And we also wanted to present sonata 106, a work considered one of the giants in the history of music, as if it were an artefact from the past which, brought back to today, becomes a modern monument, an Ara Pacis of Music in a new sonic and visual space.

We won’t say whether we succeeded or not, the concert will reveal it. A concert that materializes in the present, and contains all the modalities of the present: immersive sound, in which spectators are not in front of a sound, but are “inside” the sound.

Variations on Beethoven's Sonata 106 - Scherzo

Terre Deserte 
New sound spaces explored, investigated and covered, but along the way, it will come to a revelation that as key it will open the doors to objet sonore. “Like a perception proper for listening to her self” The listening does not refer to perceived sounds but only to perception. Sound mass composed by the overlapping of elements, that feel like separate from each other. The sounds slowly evolves, becoming macro object. An evolution, until to arriving to key point, characterized by few elements, capable to wake up the listener from a oneiric dimension. The silence has decisive impact, it is the awareness. The imperceptible dynamics arrive to strong dynamics, in which the objet sonore undresses of each elegance and it remains a raw and poor materials. These elements have short duration, like a mirage in the desert. It has the perception, but not perceived object. The composition will include a meditation moment, distended and reflective, versus to the verticality, i.e. the anxiety.


www.ecorensemble.com/
www.facebook.com/ecorensemble/

Terre Deserte

Maja Ratkje - OX (sax alto, electronics)
Gianpaolo Antongirolami, sax alto
Gionni e Ariele (www.areasismica.it), electronics

Live@
Area Sismica, Ravaldino in Monte (FC)
21 gennaio 2012

Maja Ratkje - OX

Did They? Did I?

Biography
e-cor ensemble is an electroacoustic music project founded in 2013, consisting of Mirjana Nardelli and Francesco Altilio. Their production is based on the cultivation and aesthetics of sound which, explored and investigated through various artistic forms, become the focus of the ensemble, the common element in all their works. The key element is represented by dialectic interaction and multimedia. Only through dialogue can the e-cor ensemble achieve and express investigation. The sound is to be understood as the element of union of all the art forms under consideration. Influenced by acousmatic art, their activity focuses on applied music, sound design, improvisation and video art. Improvisation is one of the more consolidated practices of the ensemble. In 2016, e-cor ensemble wrote and performed their first theatrical work, The Tell-Tale Heart”, inspired by Edgar Allan Poe, for which they wrote the music, stage direction and lyrics.  With Luigi Ceccarelli they composed the music for the theatre play Inferno (winner of the 2017 “Premio Ubu” prize) for the theatre company “Teatro delle albe” and the Ravenna Festival. In 2019 they released their first album, Lipstick on a Pig on the label Folderol Records. The main themes of the album are multimedia, sharing and improvising. 
Their music was performed and played in: Gallery of Modern Art in Rome, NYCEMF in New York, Conservatory Santa Cecilia - Rome, Conservatory San Pietro a Majella - Naples, Conservatory O. Respighi - Latina, Conservatory G.B. Martini - Bologna, Conservatory L. Cherubini Florence, RomaEuropa Festival Digital Life - Rome, 14th SMC - Aalto University - Espoo (Finland), Forum Wallis Ars Electronica - Leuk (Switzerland), Acousmonium Istituto San Fedele - Milan, Tempo Reale - Florence, University of Greenwich -  London, University of the arts of Essen (Germany), MUSLAB-2016 Universidad Nacional Autónoma de México- México City, ICMC 43rd The Daegu Art Factory, Daegu (Korea), Festival Exhibitronic, LABUT - Stimultania, Strasbourg, Festival Mixtur 2018 – Barcelona, MACRO - Museo d’Arte Contemporanea Roma, MAXXI Open Museum Open City 14 – Rome, – CRR de Paris, Musiques à Réactions Paris, Sapienza University - Maker Faire 2014 – Rome, Zebrastraat - Het Maandagavondcomplot - Gent (Belgium), Goethe Institute for Di_stanze 13 Palermo, Solvay Center with SME - Akademii Muzycznej Krakòw. 
 
Contact: 
e-mail: e-cor@outlook.com

Terre Deserte

e-cor ensemble

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