Keith Kirchoff, piano
From The Electro-Acoustic Piano, Vol. 1

"Lush Intrinsic" was commissioned by pianist Keith Kirchoff and composed in 2009. All of the electronic sounds are created using piano samples, most of which are captured live during the performance. The electronics are conceived as a means to extend and augment the piano’s capabilities, at times creating dense polyrhythmic textures that seek a common ground between minimalism and electronica and popular music.

Lush Intrinsic (2009) for piano and live electronics

Innesti, for euphonium and electronics (2022).
Composer and live electronics: Matteo Tundo
Euphonium: Marina Boselli

The composition is the result of a research done with Marina Boselli, to whom the composition is dedicated.
Electronics influenced the work at the beginning of its conception, indeed some possibilities typical of the electroacoustic elaboration were researched in the instrumental sound of the euphonium, such as granulation, pitch shifter or distortion. With these methods, live electronics have been effectively implemented.
The composition is divided in four-part, but is presented as a single evolving stream. Each section presents a characteristic musical element, with which a sound enviroment is built. In each section an extraneous element will always be grafted, which will tend to saturate the section, so much so as to become the protagonist of the next part.
However, the euphonium and electronics appear as a single organism, with which they describe changes in form and sound evolutions.

Innesti, for euphonium and electronics (2022)

NOUVELLES AVENTURES CICLE – KONZERTHAUS WIEN

Berio-Saal
Wiener Konzerthaus
Friday, April 22, 2022

Schallfeld Ensemble
Leonhard Garms, Conductor

The octet version of "les instances" is projecting an electrified sound world emerging from the musical synergies and the coexistence of an amplified ensemble with a synthesized, electronic soundscape. A continuum of interchangeable drives it, phrasal collages comprised of distinct sonic and rhythmical structures, both in the acoustic and the electronic parts. The structure is formulated by repetitive blocks and timbral constructs that engage horizontally and vertically (harmonically) and eventually forge the behavior and the dramaturgy of the music. At the core of my creative thinking lies the notion of repetitive exhaustion and dissolution of sonic material in frameworks of organic sound complexity. I am deeply interested in the impact of recursion on our perception of details and musical events at a micro and macro time level. The piece is heartily dedicated to George E. Lewis.

Les instances - octet version, for amplified ensemble and diffused, synthesised sounds (2019/20)

http://www.stefanogervasoni.net/index.asp?page=catalogue&id=49&cat=solo

for: piano
duration: 13'30''
commission: Ms. Jenny Lin and Mr. Luca Sabbatini
first performance: 22.3.00, Brussels, Ars Musica, Jenny Lin
publisher: Ricordi
catalogue number: 138560

Studio di disabitudine - Andrea Corazziari - private studio recording 2008

Sessualità e sete di potere

While at Yaddo for two weeks in July 2018, I began working on a new movement of my suite "Islander." I decided to set the Tagalog word tandaan (meaning “remember”). A lot of unexpected things happened: teaching myself of couple of new things on Ableton, such as creating my own sampler from recorded sarunay sounds; creating a solo piano with electronics version of this piece so that I could share my work in progress with my fellow Yaddo residents; and figuring out how to mix my own recording. This became Test Site 3.

The piano part was recorded on the Steinway at West House with my iPhone. Special thanks to composer Trevor Gureckis for lending his ears and expertise during the mixing process.

Test Site 3: Blood

https://www.youtube.com/watch?v=AsSG6mPmMo0

« In principio, c'era colui che è "la Parola".
la Parola era con Dio,
la Parola era Dio.
Egli era al principio con Dio.

Per mezzo di lui Dio ha creato ogni cosa.
Senza di lui non ha creato nulla.

Egli era la vita
e la vita era luce per gli uomini.
Quella luce risplende nelle tenebre
e le tenebre non l'hanno vinta. » 

In princípio erat Verbum, et Verbum erat apud Deum, et Deus erat Verbum. Hoc erat in princípio apud Deum. Ómnia per ipsum facta sunt: et sine ipso factum est nihil, quod factum est: in ipso vita erat, et vita erat lux hóminum: et lux in ténebris lucet, et ténebræ eam non comprehendérunt. Fuit homo missus a Deo, cui nomen erat Ioánnes. Hic venit in testimónium, ut testimónium perhibéret de lúmine, ut ómnes créderent per illum. Non erat ille lux, sed ut testimónium perhibéret de lúmine. Erat lux vera, quæ illúminat ómnem hóminem veniéntem in hunc mundum. In mundo erat, et mundus per ipsum factus est, et mundus eum non cognóvit. In própria vénit, et sui eum non recepérunt. Quotquot autem recepérunt eum, dedit eis potestátem fílios Dei fíeri, his qui crédunt in nómine eius: qui non ex sanguínibus, neque ex voluntáte carnis, neque ex voluntáte viri, sed ex Deo nati sunt. (il Sacerdote e tutti genuflettono) Et Verbum caro factum est , (e rialzandosi prosegue:) et habitávit in nobis; et vídimus glóriam eius, glóriam quasi Unigéniti a Patre, plenum grátiæ et veritátis.

genesi

Lviv philharmonic Society Orchestra, Soprano: Christina Makar, Conductor: Ferdinando Nazzaro

Sessualità e sete di potere

Danilo iebba Gervasoni

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