Comes out as a condensed sound imprint from my stay in India back to 2017 and collects some materials from a quite big archive: artist and dear friend Shailesh B R's veda recitativo in the forest; women religious chants at hindu temples (quite rare and beautiful thing, mainly men practice as far as i know) which i attended during several scooter trips with Katyayini Gargi and Pranay Dutta; spring festival processions in Mapusa; some material from Glance, an open form sonic survey project made of endless nocturnal reampings through temple horns (rent thanks to the crazy good sculptor Sahil Ravindra Naik at his village) dig underground and hang to a water tower into the Western Ghats forest (close to the graphic novelist master and great host Orijit Sen and his wife Gurpreet Sidhu's property, where we all lived for a while). For that we also build an electrified string sound vase together with Bhisaji Gadekar: you can hear its deep presence at some point. 
Then i moved to Mumbai, at Clark House Initiative, and you can listen to excerpts from a 3 hour sound performance for a temple horn solo which remixed all the red laterite soil impressions and sound fields from the goan forest. You can also find around some voices, singing and chatting and loop-poetry from my last night there with artists Pisurwo Jitendra Suralkar, Yogesh Barve, Saviya Lopes, Amol K Patil which after my leaving helped installing and taking control of that screaming sound sculpture at the CSMVS Museum.

Western Ghats : Mapusa : Mumbai (1h Radio Edit) India, 2017

This track was expressly composed for a scientific paper about world's landscapes and destinies and it was inspired by  Paul Valery who wrote Le Cimetière marin.

Innerscape

As suggested by the Latin pronoun that makes up the title, EA is a reflection on the eternal feminine portrayed in the images of water and the moon. A source of grace and pain, the feminine essence emerges through the voice of Maria Callas.
This work is also an invocation to the moon, like the one Norma sings in Bellini's opera.
Foreshadowing a nostalgia for water, EA reinterprets Casta Diva as a secular prayer not to waste this precious and dramatically endangered common wealth. The piece asks a question about life and death, both individual and collective, also in reference to the health state of the
She who welcomes us all and whom we call Earth.
The fragility of existence, metaphorized in glitch sounds, which are sometimes really disturbed, describes a symbolic continuity made up of discontinuities that generate fractures. And while death hides in the ticking of pendulums and clocks, newborn life hints at the almost sweet
sounds of carillons and air bubbles.
Ultimately, EA tries "to contemplate your own drama as if from the outside and dissolve it in melancholy and irony".
The work intends to express the complexity of the living by merging three types of archives: concrete sounds sampled using hydrophones (nature), repertoire sounds such as Bellini's aria(culture) and finally filtered sounds, using subtractive synthesis from white noise or from impulse banks (technology).

Echo means response. It seems to be changeable, but there is one of them. The work is made for zheng and electronic. By pre-sampling the zheng materials, stretching and transforming them while adding different reverberation, the electronic music part is formed by deformation on the premise of preserving the impression of the original materials as much as possible. Zheng and electronic music complement each other.

Echo - For zheng and electronic

I reached out to try to hold it, but it flowed through my fingers. Wind, don't know where it comes from, and it's hard to find where it goes. The sound material of the work comes from wind chimes, trying to use this concrete sound form to describe the picture of the wind.

Sound Of Wind

Anatide acousmonium è il racconto di tre personaggi rinchiusi nel ventre di un'anitra cotta.

A.I. - Otto Marco Mercante
Minnie - Silvia Lodi


sonoro Elena Ghigas
testo Andrea Inglese

Anatide acousmonium. Stralci di un racconto incomponibile. N°1

"Opal" (2024, for electric guitar & live electronics)
Commissioned by Centre Henri Pousseur
microtonal e.guitar w/ hexaphonic system [this recording is a stereo adaptation!]
Premiere: 11 May 2024 @ Le MoM, Liège (BE)
Festival Images Sonores
François Couvreur (e.guitar), Zeno Baldi (live el.), Patrick Delges (sound dir.) 
Score published by Ricordi, Milan.

Opal (2024)

For classroom furniture and students' voices.
By my junior high school students.

When I am at school, I look trhough the window

Il pezzo è un esercizio di composizione realizzato dagli alunni delle prime dell'I.C. 1° Polo di Monteroni di Lecce. Il brano è stato registrato nella palestra della scuola. Si raccomanda un ascolto in cuffia.

Poppy Symphony

Il brano è un esercizio di composizione realizzato dagli alunni delle classi prime dell'I.C. 1° Polo di Monteroni. I ragazzi hanno immaginato delle sonorità facendosi ispirare dal colore blu.

from the album "Summer Melodies" - Lobello Records 2016
music & lyrics Stefano Todisco (a.k.a. Tobia Lamare)

Tobia Lamare - guitar and vox
Roberto Pisacane - bass
Francesco Pennetta - drums
Emanuele Coluccia - saxophone
Alessandro dell'Anna - trumpet

Shave All the Hipsters

https://elenaghigas.tumblr.com/

elenaghigas@gmail.com

Anatide acousmonium. Stralci di un racconto incomponibile. N°1

elena ghigas

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