Recorded and/or mixed by Alexandre Chaigne

Ultimate Synthwave Library - part 3

JBRH 030

music for non existing science tv show

#1 String instruments - selections for the discovery and dissemination of contemporary music

Pieces with Electronics

for string quartet and electronics
Commissioned by F. and J-P Billarant for the Wittener Tage Für Neue Kammermusik 2021.
Recorded by Ircam (Paris, Centre Pompidou), mixed by Music Unit.

First performance : April 23th 2021, Paris (FR)
Diotima quartet.

Des Mondes Possibles - string quartet & electronics (2021)

for recordings of satellites, string quartet and electronics

Paris, Centre Pompidou April 18th 2021
Quatuor Diotima

**********************

Achille Judica-Cordiglia and his brother Giovanni Battista are well-known amateur radio operators who claimed in the late fifties and early sixties to have heard radio communications taken from secret Soviet Union space missions, including SOS signals, telemetry, and the dying sounds (heartbeats and breathing) of a suffocating "lost cosmonaut.” Even though their claims have been thoroughly debunked, the stories of these sensational intercepts are part of the mythology of the Space Age and stand at the origin of a durable conspiracy theory.
In the 1960s, the idea of a “lost cosmonaut” spoke to acute fears. Despite the optimism of space exploration tales, the reality of space travel—from sending a dog into orbit to putting a man on the moon—had a striking effect on the public and raised more life-altering questions than it provided answers. A cosmonaut lost in space served as a poignant metaphor for individuals’ anxieties about the future in an era of nuclear tension and uncertainty. This helps to explain the diffusion and the longevity of a hoax that identified the stain of some kind of original sin on the shiny surface of the triumphs of the early space age. Now that the cosmos has switched in our imaginations from being the route toward a radiant future for humanity to a place of accumulation for space capitalism or a post-doomsday shelter for the extremely rich, these stories of dead astronauts are more sinister and haunting than ever.

The title "Memories of the Space Age" is borrowed from the collection of stories of the same name by J.G. Ballard (1988), a set of writings thematically linked around rotting launch gantries at Cape Canaveral, the failure of the US space program, dead astronauts eternally orbiting in space, deserted hotels lining the Florida coast, and the lonely, disturbed individuals who linger at the fringes of this lost dream of the Space Age.

The piece uses more than 100 historical radio recordings of human-made objects gravitating in Low Earth Orbit, for example, the beacon beeps of satellites, telemetries, and the voices of cosmonauts, along with the ill-famed Judica-Cordiglia tapes. This material—shifted and transposed to match the harmonic structure of the piece—is the starting point for an imitation game that involves the string quartet and that grows into a complex three-layered polyphony.

In addition to these archival materials, the electronic material features digital processing of the string instruments with the modulation techniques that were, and still are, commonly used for radio and television transmission. The fragile, inharmonic sonorities of the prepared strings are mirrored by electronic phenomena like feedbacks or physically-modeled chaotic circuits that behave in similarly erratic ways, in a laborious attempt to tame the untamable while at the same time pursuing serendipitous glitches.

"Memories of the Space Age" deals with the aesthetics of ground noise, white noise, and lost radio waves, with the misuse and malfunctions of technology, and with the misinterpretation of a chaotic signal as pareidolia. It is also, somehow, a nostalgic homage to obsolete or soon-to-be-obsolete technologies and to the visions of the future these technologies carried. That future now seems irretrievably lost, but its ghost, like Ballard’s dead astronauts, still haunts us.

Mauro Lanza - "Memories of the Space Age" (2020)

Deadly Avenger - Left For Dead

catherine lamb -- descensus trio (2020). i recorded each part by myself over the course of the pandemic.

catherine lamb -- decensus trio

This piece is the first of my own take of Pauline Oliveros "13 changes"
Stay tuned for the 12 others

Standing Naked In the Moonlight - Music Washing The Body / O vis Eternitatis

part 2/13 on my project gathering Hildegarde Von Bingen & Pauline Oliveros

Atomic Imagery - Rotating Molecules - Particles Dancing - Instantly Vanishing / O Rubor Sanguinis

War is peace
Freedom is slavery
Ignorance is strength

Night Stalker

Flight of Neptune

interference 2

rain of neutrinos

section X from Divisio Spiralis (2019)

JACK Quartet

February 25th-26th, 2021, Oktaven Audio, Mount Vernon, New York
Mastering engineer: Ryan Streber
Editing/Mixing: Christopher Botta and Christopher Otto

Catherine Lamb

Divisio Spiralis X (2019)

Night Keys 4.3

You really shouldn't have gone out tonight...!

Maniac!!!

“Le nubi non scoppiano per il peso” 
for 9 musicians, soprano, computer-controlled water drops and electronics

Ensemble Court-Circuit, Omo Bello, Jean Deroyer 
Oslo Ultima Contemporary Music Festival 11/09/2011


The text :

"Who cuts a channel for the torrents of rain, and a path for the thunderstorm, to water a land where no one lives, an uninhabited desert, to satisfy a desolate wasteland and make it sprout with grass? Does the rain have a father? Who fathers the drops of dew?"
The Book of Job, chapter 38

To the eyes of the unknown authors of the Book of Job, the creation appears as an indecipherable enigma. The only one who knows its laws is the engineer who establishes the weight of the wind, who counts the clouds in the sky and apportions the water by measure. And these laws seem to have no consideration for man; there is no punishment or compensation for his behaviour. Rain falls in the desert too, on a land that nobody harvests. Disgrace befalls on the righteous and the unrighteous alike.
The long, scoffing reply that God gives to Job’s relentless existential questions (a short excerpt is sung in the piece) is itself composed of questions, almost suggesting that, as Wittgenstein wrote: “when the answer cannot be put into words, neither can the question.”
“Le nubi non scoppiano per il peso” deals with heaviness and fall, and with measuring what seems to have no measure.

The piece is dedicated to my parents.

“An altar begins where the sense of measure ends. Being a saint means losing control, giving up weight, and weight is organizing one's own dimension”
Carmelo Bene, Our Lady of the Turks

Work commissioned by Ensemble Court-Circuit and by “Integra - Fusing music and technology” a EU-funded project led by Birmingham Conservatoire (UK).

The dripping device is inspired by the installation Dripper01 by Arno Fabre (who has kindly shared his know-how) and has been built by Simon Cacheux. A special acknowledgment to Thierry Coduys who supervised the early stages of its construction.


Mauro Lanza - "Le Nubi non Scoppiano per il Peso" (2011)

Mauro Lanza - "104bpm" (2006)

for ensemble, toy instruments and electronics
Ensemble musikFabrik
Paris, Maison de la Radio, Festival Agora 09/06/2007

Mauro Lanza - "Vesperbild" (2007)

for voice and electronics

(Donatienne Michel-Dansac : voice)

Mauro Lanza - "Erba Nera Che Cresci Segno Nero Tu Vivi" (2001)

Classical acoustic guitar & objects.
Recorded the 6 February 2017 in Marseille, France.
A piece by Clara de Asís.

Fais rien

ENCOM

Laurent Sureau - 1ère Gymnopédie (E. Satie)

Hijaz Theme ; Voyage en mélancolie.

Recorded at La Licorne Rouge Rennes, 06/17.

Panart 1rst gen - Hijaz
Bellart Bells - Pygmy C
Echosound - G Elyxir

Hijaz Theme - Hang

Illegal Experiments

Electronic music for the silent movie Häxan (1922) by Benjamin Christensen 

Mauro Lanza - Excerpt from "Häxan" (2008)

Recorded live in Broceliande forest by Alexandre Chaigne, 06/17.
Val sans Retour.

Canopée - Outdoor Live Session 2017

Deepstaria (2019) for 2 analogue synths and e.guitar
commissioned by Ensemble L'arsenale / MAtera INtermedia Festival
supported by SIAE Classici d'Oggi
----------------------------------------------
Instrumentation: Doepfer Dark Energy II, Korg MS10, E.guitar + pedals, sampler, midi step sequencer.
performed, recorded and mixed at Bass Studio (American Academy in Rome)
+  Verona (at home), during quarantine 2020

Deepstaria (2019)

Composition : Malika Kishino
Score : EDIZIONI SUVINI ZERBONI MILANO
Score : https://en.schott-music.com/shop/oud-no446901.html?SID=pqoqkchgn1i5j4ure5dn3ja3a5

Commissioned by Takako Arakita Fund
Noriko Miyamoto (Marimba)
Satoshi Inagaki (Piano)
Ensemble Nomad under the direction of Norio Sato
09.10.2020 in Opera City Hall Japan

Many Thanks for :
Ensemble Nomad
Edizioni Suvini Zerboni Milano
Schott Music Japan
Labo365

https://www.schottjapan.com/news/2020/200930_144301.html

Mauro Lanza - "Memories of the Space Age" (2020)

MauroLanza