Atom III (2021) for flute and live electronics (feat. Tiziano Teodori)

Léo Margue, direction

Flûte, Emmanuelle Ophèle
Clarinette, Jérôme Comte
Percussion 1, Gilles Durot
Percussion 2, Samuel Favre
Harpe,  Valeria Kafelnikov
Piano, Fernando Palomeque
Violon, Diégo Tosi
Alto,  Odile Auboin
Violoncelle, Éric-Maria Couturier
Contrebasse, Jules Bauer

Heterotopia I - Ensemble Intercontemporain

Performed by Kali Ensemble and commissioned by Lichtbogen Neue Musik festival at the Robert Schumann Hochschule in Düsseldorf (Germany).

Kali ensemble:
 İdil Yunkuş (violin), Beste Yıldız (cello), and Nirantar Yakthumba (piano)

About:
The piece was written in spring of 2022, and it is dedicated to Idil, Beste and Nirantar. It is inspired by Zoe Karelli’s poem, “The tree” (1955) and the way the poet approaches the flux of time. Without defining a beginning or an end, the poem describes the constant transformations that derive from episodic time events.

The branches look the same, for piano trio

Performance of "(almost always is nearly enough)" by earspace on November 5, 2022.

Ledah Finck, violin
Lena Vidulich, viola
Erin Murphy Snedecor, cello
Philip Snyder, flute

(almost always is nearly enough) [live] // earspace // 2022

Apprendere dal fango, d'après Volodine 

Acousmatic, stereo version

Apprendere dal fango

quick experiments 2023
Acknowledgements: Sigrid Sand Angelsen (cello), Andrejs Poikaans (supercollider)

Panting

Recorded on 4.15.2016

Luciano Berio, Sequenza VIII for solo violin
William Overcash, violin

Masters Recital I

Berio - Sequenza VIII

I want to say thank you to:
Federico Ferrarini and Ginevra Gadioli for the occasion. I hope I fullfilled your expectations.
Alessandro Cailotto for being such a great sound partner. Palazzo Camozzini for the wonderful location.
Antoine for suggesting me articles about black and white holes and dynamic of fluids, which I haven't understand completely, but from which I got a lot of suggestions.
V.E.R-V. team for letting me use the #Soundbox for the mixing process, and for being what I think can be called family.

Step by step... I am not stopping here. I am thirsty as hell.  

Here it is a couple of ideas I was writing down to understand better what I had into my mind. 
The final is a "redshifting".

"Vesseldata - the data. Information in samples, pixels, concepts, transferred through digital roads, similar to wormholes. Is it possible to saturate the information ? If the channels multiplies, and the space expands, is 'too much' still 'too much' ? Does it find a new way of being, a complex texture knowable as unique, a precise mixture ? Where is the limit between new feelings and apathy ?
The data here is stretched, intensively elaborated, destroyed in grains and melted in new morphologies. Lost atoms, running towards death or towards new life.

In a May morning I was walking inside Saint Michele cemetery in Venice and, as I felt someone was silently whispering to me, I turned my head, looking the way I just passed. An idea strucked me: what if I knew all of them, all the people buried there, as we were confidants for a long time, feeling the love coming from my memories of them.
I felt immediatly pushed to the ground, as if my body was suddenly attracted by the earth, as if the pressure of the atmosphere became incredibly high. I felt as there were a magnet at the center of the earth squeezing me down and my eyes became heavy. The shadows became more evidents than the light lingus. 
Levi-Strauss once wrote that probably the best way to know a society is to know its relationship with the deads and death.
Now I was in a city.

Is the cemetery a portal ? Like a black hole, is it connected to a white hole somewhere else, as some theories suggest ? Similirarly, are our PC and smartphone screens a portal for another place? Are the sum of all datas a physical space ? But most importantly: is death the line towards new state of being or a new form? Is coming into this world a trasformation into the form and matter called "human" ? 
Here the thoughts relate to Federico's opera: the cellula, the sun, thousand of lines and elements sucked inside the magnetic center of the opera. A red wormhole cracking its way to the unknown. 
He was painting about Life, among the other things; I was composing about Death, among the other things. "

Wormhole/Vesseldata

dep . R(i)e . viv . al . a . tion (2019)
for ensemble

March 10, 2019, performed by Hezarfen Ensemble in Bilkent Concert Hall, Ankara

Orhun Orhon, conductor
Cem Önertürk - Flute
Kıvanç Fındıklı - Bass Clarinet
Kerem Öktem - Percussion
Müge Hendekli - Piano
Özcan Ulucan - Violin
Ulrich Mertin - Viola
Gökhan Bağcı - Violoncello

Recording and mastering by Engin Dağlık

Art: Limm by Christoph Bader
 
dep . R(i)e . viv . al . a . tion (2019) for ensemble

"unhappy that i am, i cannot heave 
my heart into my mouth: i love your majesty 
according to my bond; nor more nor less."
			King Lear, I.1: 91-93, Cordelia.

dep . R(i)e . viv . al . a . tion, is an artificial word that was created as considering the phonetic features of both deprivation and revival words.
Just like King Lear's little daughter, Cordelia, many people have organic bonds of pure love. The most bitter of this situation is that they cannot leave these ties behind, and over time they become a cyclic deprivation. These types of situations that cannot be left behind and are transformed again, avoiding the progression of the timeline which creates loops. The deprivations that occur in these repeated cycles with particular or unknown periods inform their endings; in fact, every ending is the cause of a new revival. As Shams- i Tabriz says, ’The end is to return to the beginning.’ 
I have observed that this psychological process, which people have to experience from time to time, has an actual physical reaction on our own bodies. The harmonic cycle of music refers to the psychological process; the music, beginning in the “E” harmonic area, that completes its harmonic cycle by achieving different center tones and ends at the “E” center just like in the beginning. The harmonic function of music also serves the formal structure of itself. Transformed small structures texturally reach up in each center tone during the procedure, which is a reflection of the observed physical results.

Wormhole/Vesseldata

Paolo Piaser

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