This piece named “Amorfia”, is inspired from greek music elements and landscapes.

Amorfia NO.2

ClapaChimBala | for fixed media with algorithmic spatialisation

This short study tries to explore a methodology for presenting electronic music by incorporating algorithmic processes -within the SuperCollider programming language- for the spatialisation of sounds in real-time using a large number of loudspeakers.

ClapaChimBala

Foxglove(stereo Reduction)

Inspired by the image of winds and wood flying through the air, Ricardo Climent and Paul Wilson conceived The Tornado Project: a set of commissioned works for flute, clarinet and computer-generated sound, to be performed by American wind virtuosi Esther Lamneck (clarinet) and Elizabeth McNutt (flute). Tornado performances have taken place in New York, Manchester, Belfast, Aberdeen, Phoenix, AZ, Denton, TX, Cincinnati, OH, and at the SEAMUS Conference, International Computer Music Conference, and New York City Electroacoustic Music Festival. The first Tornado Project event was in the inaugural festival of the MANTIS center at the University of Manchester, England, in 2007, and included pieces by Ricardo Climent, Paul Wilson, Andrew May, and Eric Lyon. The repertoire of the project has grown with each performance, including new pieces by Robert Rowe, Russel Pinkston and Mara Helmut.

Tornado Excerpt1 Pinkston

Medical text pp. 57: Age is an aggressive, virtuosic, and remarkably vulnerable piece crafted around the text found in the educational tome Cyclopædia of Practical Medicine Vol. 1 published in 1845. 
The chapter that this piece addresses is on the topic of age and its effects on the body through the multiple stages of life, beginning with nascent burgeoning growth and advancing to eventual unerring onset of decay. This piece manipulates the coherence of text and plays off of humanities want to comprehend speech in voices, often crafting phones and consonants that are similar to speech but contorting them beyond understanding. When juxtaposed with recognizable text and married with a plethora of timbral driven gestures and extended vocal techniques, smooth transitions between nonsense and meaningful text help to drive the piece through continuums of obfuscation and clarity.

Medical Text p.57 - for voice and live electronics

I wanted to work exclusively with vocal sounds, but to try to ignore entirely such things as words and sentences. Instead I decided to concentrate on ways in which the human voice communicates without recourse to the intricacies of language. I wanted to dig down to the deepest level and lay bare a universal language of squeaks and grunts, which might communicate emotion in the most direct manner, with as few civilising niceties as possible!

I had two primary influences: The first was that of various Dada writers/performers, in particular Kurt Schwitters. Some of the vocal patterns that I used as my source material were based on quotations from Schwitters’ Ursonate, which was a particularly strong influence.

The second was that of early animated cartoons, such as those of Tex Avery. I wanted to make something that had the same kind of manic and visceral energy as an Avery cartoon, the crude caricature and capricious, free-form narrative, and, of course, the humour.

In the composition of the piece, I also concentrated very much on abstract ‘musical’ parameters, in particular rhythm. In this, I was also inspired by the rhythmic patterning of Ursonate, but took such patterning a stage further using basic Stravinsky-esque cell techniques.

Vox mecanix

Lefteris Spanoudakis: Oud
Eirini Barouta: Cello
Dimitris Gogos: Quanun
Apostolis Paraskeuaidis: Double Bass
Giorgos Gargalas: Composition - Percussion - Flute

Rapid East

Giorgos Gargalas

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