for bass flute and electronic (Fixed Media, Stereo)

Beatrix Wagner - bass flute        www.beatrix-wagner.de
 
 
 
no sun, no moon immerses into another world: a world without reference points, where everything which looks like real it's not necessarily... This world reflects ours, but with a different sense, other logic. It follows a course which we can not foresee. We will hardly realize that the world is changing around us and growing strange. Reality is considered by two different points of view, and we do not know which is the real and which is not.

In no sun, no moon, the bass flute and the electronics are the two worlds, reality and parallel reality, the two sides of the mirror. Both are the same thing and simultaneously its opposite, interacting and reacting one another.

The player will be conditioned, influenced and guided by the electronics. The electronics was/will be also influenced by the player: in the composition of the work and by the perception of the audience in the concert. Both ways are intertwined.

The raw materials for the electronics consist exclusively of bass flute samples. These samples have been shaped and spatialized using different software (AudioSculpt / Live / RTGS / MaxMSP / ProTools) and assembled in ProTools.

no sun, no moon

Playing second oboe in this wonderful aria. Rehearsal recording.

BWV 42 Arie: Wo zwei und drei versammlet sind

composed by Dai Fujikura
performed by Yoann Tardivel Erchoff
(This recording was privately recorded. Permission by Yoann Tardivel Erchoff)
score is available for purchase from: http://www.daifujikura.com/un/shop.html

Water Path for Organ

Illinois Modern Ensemble, Stephen Taylor, conductor.  8 February 2017.
Sonic Illinois Festival, Krannert Center for the Performing Arts.

Cold Horizon, for chamber orchestra, grew out of a piece for vibraphone and piano entitled Cold, which I wrote in Paris in January 2001.  The basic musical ideas and icy, shimmering instrumental colors of Cold have been stretched out into a supple, continuously flowing, and dramatic form, and colored as if seen at twilight under a fading and distant light.  

In a sense, Cold Horizon explores resonance as a model or metaphor for developing musical gestures and forms.  Often resonance is used to create a sense of perspective, reminding us that music takes place not only in time but also in space. Musical lines that are slightly out of alignment shadow each other as they seem to echo in a reverberant space.  Similarly, rhythmic processes and subtle changes of orchestration create the illusion of musical gestures that approach or recede.  The opening of the piece, a quasi-Doppler effect, is one example.  Another typical idea is the filtering of complex harmonies into simple intervals, floating points of stability that form a thread of consonance woven across the span of the piece.  The use of quarter tones blurs the line between harmony and instrumental timbres to create a sense of depth and shadow against the well-tempered, “normal” pitches.

Cold Horizon has passed through a series of incarnations, beginning with an initial sketch premiered in 2002 by the Orchestre Lyrique de Région Avignon-Provence under Sylvio Gualda at the Centre Acanthes contemporary music festival in France.  The complete piece was premiered in 2003 by the University of California, Berkeley Symphony conducted by David Milnes, followed by a revised and expanded version performed by the Minnesota Orchestra at their Composer Institute in 2006 with David Alan Miller.  I revised the piece one last time in early 2017 for this performance, making some minor adjustments to its pacing, clarifying the orchestration and several harmonic details, and pruning back some pretentious complexity in the notation.

Cold Horizon (2017 Version)

for oboe and 2-channel-tape (2009)

Anke Nevermann - Oboe

Again and again I am dreaming of landscapes with a black dark sky, in spite of the sunshine. The mood of this strange light gives a touch of serenity to my dream because of the knowledge of the destiny: a kind of multidimensional vision of the time through the presentiment.

I have composed this work at a time when I decided to project the sensuous component of the music rather than the structural. This composition presents the vision of the reality like I feel it: the experience of a fantasy or a dream world which I see as the reality.

blue water, dark sky

for piano and electronic (Fixed Media, two channels)
Eunyoung Son - piano / October 26th, 2017

Seoul International Computer Music Festival SICMF 2017
Asia Culture Center, Gwangju (South Korea)

Jorge García del Valle Méndez

Visions of the Void II

Multichannel acousmatic composition (9.1) (2008).

The present version is a stereo arrangement.

"The Other Side" was conceived for the opening week of the new concert hall of the university of music "Carl Maria von Weber" in Dresden (Germany). For the composition of this work I exploited specially the electroacoustic possibilities of the hall and considered the geometrical peculiarities of its room: Since the public range is rather widthwise as lengthwise oriented and very irregularly positioned, a multichannel electroacoustic composition cannot start out from a "central hearing perspective". The audio equipment of the hall makes possible a different organization of the spatial structure in each hearing position. This idea was for me the central task during the realization of the composition concept. I took full advantage of the spatial configuration of the hall particularly by means of sound movements: The listener participates through the moving and merging of the sound in different spaces, which bring him to different acoustic levels.

As raw material I used high-quality audio samples, which already contain a musical meaning by itself and whose constellation only in a university of music is to be found: an orchestra, a choir, an electric guitar… I processed this samples with the computer and merged them in the composition with the originals. The combination of raw and finished materials forms the dramaturgy of the work.

The other side

The fabulous players are: Barry Crawford (fl), Peggy Pearson (ob), Benjamin Fingland (cl), Kevin Fairbairn (tb), Matthew Gold (pc), Christopher Oldfather (pf), Gaby Diaz (vn), Liuh-Wen Ting (va), Joshua Gordon (vc), James Baker (cond). Thanks to all for a wonderfully high-energy performance.

Damnation (2018 Concert Version)

AmavasayaStudioRecording11.9.18

Jorge García del Valle Méndez grew up in Spain, where he studied bassoon and composition. Since 1996 he lives in Germany where he studied composition and electronic music.

His compositional style is based on the articulation of time through sound structures, often through electronic means as sound generators or as a method of composition.

Through electronic music he became interested in digital analysis and sound processing, which he has applied to theoretical and musical works. He has also researched into digital analysis in Bassoon multiphonics and their sound possibilities in the application to contemporary music.

His compositional career has definitely taken an international course. His works are performed and broadcasted worldwide since 1993. He frequently receives commissions from various international institutions.

Several prices gave international recognition to his music. He has been recipient of the Salvatore Martirano Composition Award of the University of Illinois (USA) and the Sächsischer Musikrat Composition Award (Germany). He also received an Honorary Mention in the Concours International de Composition de Musique Electroacoustique de Monaco.

He has participated in numerous festivals, including the Festival Bernaola (Spain), the Electronic Music Midwest Festival EMM (USA), the SICMF Festival (South Korea), the NYCEMF (USA), the ICMC, the EMUFest (Italy) and the WOCMAT (Taiwan).

In 2012 he was invited at the Härjedalens Summer Academy in Sweden as composition's lecturer.

Visions of the Void II

jorgegadelvalle

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⭕️Ernesto Schmied⭕️

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