esta pieza es mi preferida, con su delicadeza me transporta a un oriente imaginario

"La vita delle conchiglie" (for 2 performers and amplified ensemble) is the first piece of a cycle that deals with the world hidden inside the shells. The piece, as well as the whole cycle is somehow connected and inspired by a Francis Ponge's poem.
"La vita delle conchiglie" (The life of the shells) was premiered by the Ensemble Phace conducted by Nacho De Paz in the Wiener Konzerthaus on February 2021.

Lorenzo Troiani_La vita delle conchiglie_2020

Among the fly ashes and flame’s fulcrum, the origin and destination's nuances are lost into shade's shaping. Meaningless are the relationships between indoor and outdoor world. A plural noise faces the expanse of embers.

Tra le ceneri volanti e il fulcro della fiamma, l’origine e la destinazione si riflettono smarrite nell’evolversi della sfumatura. Insignificanti i rapporti tra mondo interno ed esterno. Un suono plurale si affaccia sulla distesa di braci.

Focolai - Carlo Elia Praderio

Commissioned by the GAIDA festival (Vilnius). 1st performance: 28th of October, Vilnius St. Catherine Church, GAIDA festival, perf. Jauna Muzika choir, cond. Vaclovas Augustinas 

Concept/composition: Justė JANULYTĖ                                                           Electronics - creation/performance: Michele TADINI/Antonello RAGGI

If the radiance of a thousand suns were to burst into the sky, that would be like the splendor of the Mighty One and I am become Death, the shatterer of worlds (from Bhagavad Gītā), – so was talking Julius Robert Oppenheimer, scientific director at Manhattan Project, after the first artificial nuclear explosion 'Trinity test' near Alamogordo, New Mexico, on 16th July 1945.

"Radiance" is a metaphoric reflection of the anatomic/philosophy, energetics/poetics of the nuclear explosion; intending to be a requiem for the victims of the first atomic bombing. The genetic code of the piece is a duality and ambiguity symbolized by the Bhagavad Gītā phrase and refers to the initial, purely scientific enthusiasm of the Manhattan Project in inventing the atomic bomb; and its apocalyptic consequences after dropping it on inhabited areas. The structure of the composition is an overlap of two antiphonic processes of radiation: two groups of high and low choir voices that initially "live" in a unison start radiating, splitting (fission), because of the strong attraction between opposites poles, their territories get closer, until, they completely merge (fusion). Therefore the explosion becomes inevitable. Justė Janulytė

Creation and production of the electronic part of Radiance involves several real-time processes of augmentation, de-humanization, and transfiguration of the sonic material, in line with the poetic frame set by Janulytė’s idea. The progressive accumulation, distortion, and polarization of different vocal registers takes the listener into a different flow of time where the natural logic of action-consequence is being destroyed, and therefore the catastrophe is always happening, or has not happened yet. In the end, in the little details that only a macroscopic stretch of time and sound can reveal, we can find seeds of beauty from which we can go on after the tragedy. Antonello Raggi

"Radiance" for choir and live electronics (2015)

Instalación sonora para cuatro altavoces.

«El oráculo, como modo de decir, ante todo consiste en no dar explicaciones. Explicar es desplegar, y el oráculo es algo plegado»
Jacques-Alain Miller

Instalación sonora inspirada en las practicas oraculares de la Antigua Grecia, en tanto que crean a partir de su propia acción/enunciación; algo que también sucede en un acto performático.
Esta autocreación sempiterna de lo oracular se manifiesta siempre en tiempo presente, dado que tiempo y espacio en el universo oracular son la mismísima cosa.
El presente es la totalidad de todo lo que existe. Y todo lo que existe, existe ahora, existe en este espacio, existe en esta sala donde el sonido se proyecta…

«El pasado no puede recordar el pasado. El futuro no puede generar el futuro. El lado afilado de este instante, de este aquí y ahora, es siempre, ni más ni menos, que la totalidad de todo lo que existe.»


released February 11, 2021
Voices:
Vidente anónima hindú (recorded in New York)
Escritora pakistaní (recorded in Barcelona)
Maia Koenig (recorded by herself in Málaga)

Covert Art: Mariana Gallay

Teatro Oracular, instalación sonora para cuatro altavoces

a brief study in aleatoric atmospheres using the Buchla 265 Quad S&H Module.

Clusters One

𝕮𝕳𝕬𝕻𝕿𝕰𝕽 𝟚 | 𝕬𝕽𝕾𝕺𝕹

Written for Goska Isphording&Maciej Frąckiewicz and commissioned by the Musical Aspiration Foundation (PL), co-financed by the Ministry of Culture and National Heritage of the Republic of Poland (programme Composing Commissions, implemented by the Institute of Music and Dance) with the support of the Lithuanian Composers’ Union.

In this piece two instruments of a very different or even opposite origin and acoustic nature are melted into a monolithic “monochrome” mechanism, as if constructing a utopian instrument with characteristics of the harpsichord and accordion. The idea of such composition came from a play on words, only changing a sequence of letters in an English name of the harpsichord: harpSIchord – harpISchord. “Harp” is being read as an arpeggio (e.g. a technique asking to play chord notes in succession upwards or downwards), while “chord” is perceived as a synchronous entrance of all the chord sounds together. In this piece the two indivisible phases of sound – sound attack and resonance – are being separated in a sense of timbre. The first one is obviously assigned to the harpsichord, which naturally has almost no resonance, and the second one clearly belongs to the accordion, dynamically raising sounds from the silence. By the way, the principle of duality/opposites is expressed also through a special use of double keyboards which both instruments have whilst the diatonic white-keys harmony comes from the “eolian (wind) harp” sound.

Justė Janulytė

At van Abbe Eindhoven

"Harp is a Chord" for harpsichord and accordion (2016)

For Soprano and Ensemble
Recording performed by Juliet Fraser and Klangforum Wien, conducted by Bas Wiegers.
Commissioned by SWR, Huddersfield Contemporary Music Festival and Casa da Musica Porto. 
First performed by Juliet Fraser and Klangforum Wien, conducted by Titus Engel at Donaueschingen Musiktage, 14 October 2016.

View score - 
https://issuu.com/editionpeters/docs/ep14188_online

Skin (2015-16)

for Soprano and Bass Flute
First performed and recorded by Juliet Fraser and Helen Bledsoe May 2018 at The Gaol, Louth Ireland.

O Yes & I (2017)

Création mondiale le 18 Juin 2019, Festival MANIFESTE (Ircam Centre Pompidou), Le Centquatre, PARIS

Nicolas Arsenijevic, Saxophone

Florent Caron Darras & Simone Conforti, Réalisation informatique IRCAM

Arnaud de la Celle, Ingénieur du Son

Remerciements

Thierry de Mey, Simone Conforti, Mikhail Malt, Jean Lochard, Marco Liuni, Grégoire Lorieux

Technotope - for baritone saxophone & 16 channels electronics - IRCAM (2019)

小雨蛙 Microhyla ornata (Dumeril and Bibron, 1841)
Huge density of this tiny frog chorusing like hell around a little pond in a little forest, Taoyuan, Taiwan.
Also present, the 斑腿樹蛙 Polypedates megacephalus (Hallowell, 1861) invasive species in Taiwan.
The site is located near little factories and roads, the background noise hasn't been filtered.
Recorded with two Sennheiser MKH40 and Zaxcom Maxx.
20/03/2020

200320 Microhyla ornata - Taoyuan

The works of Justė Janulytė claim to build a "monochrome music" collection: they explore time-space perception through large-scale multilayered textures and extremely gradual metamorphoses. Justė Janulytė's catalogue, balancing between the aesthetics of minimalism, spectralism and acoustic electronica, has become one of the most fascinating focal points in the contemporary musical world. (Universal Music Publishing Classical) 

More on www.justejanulyte.com

"Harp is a Chord" for harpsichord and accordion (2016)

Juste Janulyte

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