Mauro Lanza - "Discorso di Gagarin attorno alla terra" (2017)

Séverine Ballon and Myriam García Fidalgo, cello
Fragility of sounds, a project curated by Pia Palme, KUG Kunstuniversität Graz
Schallfeld ensemble, 
Schaumbad, Graz, 30.06.2021

Séverine Ballon forêts intérieures for 2 cellos (2020-2021)

For solo cello + electronics. Performed by Severine Ballon 2013. Stereo mix of four channel piece.

The work uses extended cello performance and electronic techniques to explore the spatial and sonic experience of the cello. Amplification, sampling, delays and spectral filtering serve to build up detailed layers of spatialised, magnified sound. The grain of the instrument is investigated, crossing the boundary between noise and pitch. The textures constantly evolve in response to minute adjustments in the speed, pressure and position of the cellist’s bowing patterns.

The title is taken from a series of paintings by Robert Irwin.

Late Lines was turned into an installation for Glasgow Sound Thought 2014.

Late Lines

Tiroler Symphonie Orchester Innsbruck
RepertorioZero [Séverine Ballon (amplified detuned Cello), Simone Beneventi (amplified Cellodrum and Bell Plates), Francesco Zago (prepared 7-string Electric Guitar)]
Johannes Schütt: Ambisonic diffusion system (ICST Zürich)
Carlo Ciceri (live spatialization)
Paolo Brandi (sound engineering)
Francesco Angelico (conductor)

Klangspuren Festival Schwaz, 10.09.2015 - live recording 

(headphones suggested)

|Vɔɪz| (2015), for amplified Orchestra, three soloists and live spatialization

Excerpt of 'Speak, Be Silent', for solo violin & ensemble
29 Sept 2015, David Grimal, solo violin & Ensemble Contrechamps conducted by Michael Wendeberg, Théâtre de l’Alhambra in Geneva. 3rd movement (of 3) only. 
more info: https://lizalimcomposer.wordpress.com/2015/06/11/speak-be-silent-2015/
score is available at http://issuu.com/casaricordi/docs/lim_speak_be_silent_00_score

Speak, Be Silent (excerpt, Mvt 3, 2015)

Prevoicing (2016) for voice, bell and electronics -- or more specifically a live performance for real voice, real service bell, fake organ, and fake drums.
Bryan Jacobs - voice

Prevoicing

for Soprano, clarinet, piano, accordion and electric guitar.
13. Oct. 2016, Festival Verdi, Teatro Regio di Parma, Italy
Silvia Frigato (Soprano), Tonino Battista (cond.), Ensemble Ex Novo.

Nun hab ich nichts mehr, for Soprano, clarinet, piano, accordion and electric guitar

violin, cello, vibraphone, piano, electronic sounds
music we'd like to hear festival, London, 2016
commissioned by music we'd like to hear and RVW Trust

the way to go out (2016)

for string quartet and electronics

Paris, Centre Pompidou June 7th 2017
Quatuor Diotima

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

As a kid we had a television set with an antenna that rotated (you could rotate it from inside of your house). When the major channels would go off-air you could rotate it and pick up strange other channels from smaller cities around - from across the border, Buffalo and so on - and you would see strange things, that were kind of hard to see (there was a lot of static) and it was very intriguing to watch that kind of things. That was really the core, the crystal at the centre of this movie: my experience with that thinking “what if the images that you pulled up were really quite extreme, disturbing, possibly illegal, and what would you think then, would you keep seeking out those channels or would you call the police or what would you do, how would you respond to them?”

David Cronenberg on his movie Videodrome (commentary track of the Criterion Collection BlueRay)

The Max Headroom broadcast signal intrusion was a television signal hijacking (probably the most famous and certainly the longest signal hijacking ever) that occurred in Chicago, Illinois, United States on the evening of November 22, 1987. The signal pirates, whose identities were never found, succeeded in getting their broadcast intruded onto WTTW (a local Public Broadcasting Service television station).
The pirate broadcast, which lasted 90 endless seconds, featured an individual disguised as Max Headroom (a sci-fi computer-generated television character quite popular in the 80s, coming from dystopian near-future dominated by television and large corporations).
Around 11:15 p.m. an episode of the British TV-Series Doctor Who was suddenly interrupted by television static, after which an unidentified man wearing a Max Headroom mask and sunglasses appeared. The man started to moan, scream and laugh, uttering various random phrases (the audio was distorted and crackling), including New Coke's advertising slogan "Catch the Wave" while holding a Pepsi can (Max Headroom was a Coca-Cola spokesperson at the time). He then tossed the can out of sight, presented his middle finger wearing a rubber extension, sang an excerpt of “I’m losing you” (a 1966 Motown hit recorded by the Temptations), hummed the theme song of Clutch Cargo (a clumsily-animated television series of the 60s), moaned painfully complaining about his piles, farted, put on and off a giant glove (similar to the one worn by Michael Jackson at the time). He then partially exposed his buttocks, howling: "They're coming to get me!”, while an unidentified female accomplice wearing a French maid outfit started to spank him with a flyswatter. The transmission then blacked out for a few seconds before resuming the Doctor Who episode in progress.

“The 1987 Max Headroom Broadcast Incident” features a string quartet “enhanced” with transducers and preparations. 
The digital processing of the instruments is largely inspired by the same modulation techniques that were - and still are - commonly used for radio and television transmission. 
The piece, an hommage to obsolete or soon-to-be deprecated technologies and to the media-dominated, dark future that the “cyberpunk” sci-fi of 80s foretold, is dedicated to the memory of Fausto Romitelli.

Mauro Lanza - "The 1987 Max Headroom broadcast incident" (2017)

bass clarinet, electric guitar, piano, violin, cello, electronic sounds
Plus-Minus Ensemble, Kammer Klang, London, 2018
commissioned by Plus-Minus and APRA AMCOS Art Music Fund

thread—surface

thread—surface (2018)

the lion’s mouth (for secret denunciations)

for flute, clarinet, tuba, e-guitar, alto voice, violin, viola, cello, double bass, and live electronics.

composer: Kristian Ireland

years of composition: 2015-2017

performers: Ensemble Experimental
Noa Frenkel, alto voice
Maruta Staravoitava, flute
Nils Kohler, clarinet
Jozsef Bazsinka, tuba
Klara Tomljanovic, e-guitar
Marco Fusi, violin
Sophie Wahlmüller, viola
Daniela Shemer, cello
Dario Calderone, double bass
Steven Loy, conductor
SWR Experimentalstudio (Südwestrundfunk | Southwest Broadcasting) (Freiburg)
Michael Acker, live electronics and sound direction
Lukas Nowok, live electronics and sound direction
Constantin Popp, live electronics and sound direction

premiere: Giga-Hertz-Preis-Festival. ZKM | Zentrum für Kunst und Medien (Centre for Arts and Media). Karlsruhe, Germany. 24 November 2017.

Organisation
ZKM | Zentrum für Kunst und Medien (Centre for Arts and Media). Karlsruhe, Germany.

Sponsor
SWR Experimentalstudio. Freiburg, Germany.

More information about this work: www.kristianireland.com/note/

© 2017 Kristian Ireland

Listening: this audio recording is ideally heard through enclosed headphones or external stereo speakers with broad frequency range including sub-bass. This audio cannot be fully heard through earbuds or laptop computer speakers.

www.kristianireland.com

Séverine Ballon forêts intérieures for 2 cellos (2020-2021)

severineballon

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