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/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF OVERWHELMING INCONVENIENCE – ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE STRUCTURE & DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« a study in evanescence » for processed prepared tuba, 4 trombones, percussion, sampler & computer (May–July, 2018)

all instruments, objects, etc. modelled-recorded, sampled, mixed & rendered by the composer

***
this piece is a study of decay, release and fading out of a sound within a constantly changing, virtual space. evolving reverberation fighting against zero resonance. probing the fathomless. a gradual immersion. a collapse into absence. 

virtual, hybrid tuba modelled after the timbral (spectral) characteristics of three different types of the instrument prepared with baritone sax mouthpiece; cross-synthesized and filtered using carefully chosen envelopes of several contrabass clarinet multiphonics

a study in evanescence (2018)

ᴀ ᴄᴏᴍᴘᴏsᴇʀ, ᴀ sᴏᴜɴᴅ ᴀʀᴛɪsᴛ & ᴀ ɢʀᴀᴘʜɪᴄ ᴅᴇsɪɢɴᴇʀ ʙᴏʀɴ ɪɴ 1990 ɪɴ Kʀᴀᴋᴏ́ᴡ, Pᴏʟᴀɴᴅ.

//      Hɪs ᴍᴀɪɴ ꜰᴏᴄᴜs ʟɪᴇs ᴏɴ xᴇɴʜᴀʀᴍᴏɴʏ ᴀɴᴅ ɴᴇᴜʀᴏæsᴛʜᴇᴛɪᴄs ɪᴍᴘʟɪᴇᴅ ɪɴ ɴᴇᴡ ɪɴsᴛʀᴜᴍᴇɴᴛs ᴅᴇsɪɢɴ & ᴄᴏɴsᴛʀᴜᴄᴛɪᴏɴ, ᴀs ᴡᴇʟʟ ᴀs ʙᴜɪʟᴅɪɴɢ sᴏᴜɴᴅ ɪɴsᴛᴀʟʟᴀᴛɪᴏɴs. Sᴛʀᴢᴇʟᴇᴄ ɪs ᴀ ғᴏʟʟᴏᴡᴇʀ ᴏꜰ ᴀɴᴛɪ-ᴀɴᴛʜʀᴏᴘᴏᴄᴇɴᴛʀɪᴄ, ᴘᴏsᴛʜᴜᴍᴀɴ sᴜʙᴊᴇᴄᴛɪᴠɪᴛʏ ᴛʜᴇᴏʀʏ ᴡʜɪᴄʜ sᴛᴀʏs ɪɴ ᴀᴄᴄᴏʀᴅᴀɴᴄᴇ ᴡɪᴛʜ ʜɪs « ɴᴏ-ᴍᴇᴀɴɪɴɢ-ʙᴜᴛ-ɪɴ-ʀᴇsᴏɴᴀɴᴄᴇ » ʀᴜʟᴇ.

//      Iɴ 2017, ᴅᴜʀɪɴɢ ROSTRUM+ ᴄᴏᴍᴘᴇᴛɪᴛɪᴏɴ (ʜᴇʟᴅ ɪɴ Pᴀʟᴇʀᴍᴏ, Iᴛᴀʟʏ) ʜɪs « L’Aᴛᴇʟɪᴇʀ ᴅᴇ sᴇɴsᴏʀɪᴛᴇ́ » ᴡᴀs ʀᴀᴛᴇᴅ sᴇᴄᴏɴᴅ ʙᴇsᴛ ʙʏ 29 ɴᴀᴛɪᴏɴᴀʟ ʀᴀᴅɪᴏ ɴᴇᴛᴡᴏʀᴋs ғʀᴏᴍ 4 ᴄᴏɴᴛɪɴᴇɴᴛs, ᴛʜᴜs ᴡɪɴɴɪɴɢ ᴀ ʀᴇᴄᴏᴍᴍᴇɴᴅᴀᴛɪᴏɴ ᴏғ ᴛʜᴇ Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ Rᴏsᴛʀᴜᴍ ᴏғ Cᴏᴍᴘᴏsᴇʀs (ᴄᴀᴛᴇɢᴏʀʏ ғᴏʀ ᴀʀᴛɪsᴛs ᴜɴᴅᴇʀ 30 ʏᴇᴀʀs ᴏʟᴅ). Tʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴀʟsᴏ ᴍᴀᴅᴇ ɪᴛ ᴛᴏ ᴛʜᴇ ᴛᴏᴘ ᴛʜʀᴇᴇ ᴏɴ ᴛʜᴇ ᴀɴɴᴜᴀʟ ᴄʜᴀʀᴛ ᴏғ ᴛʜᴇ ᴍᴏsᴛ ɪɴᴛᴇʀᴇsᴛɪɴɢ ᴄᴏɴᴛᴇᴍᴘᴏʀᴀʀʏ ᴘɪᴇᴄᴇs ᴀᴄᴄᴏʀᴅɪɴɢ ᴛᴏ Dᴀɴᴍᴀʀᴋs Rᴀᴅɪᴏ Kʟᴀssɪsᴋ. 

//     Sɪɴᴄᴇ 2012, STRZ's ᴡᴏʀᴋs ʜᴀᴠᴇ ʙᴇᴇɴ ᴘᴇʀғᴏʀᴍᴇᴅ ʙʏ ᴇɴsᴇᴍʙʟᴇs ғʀᴏᴍ Bᴇʟɢɪᴜᴍ, Dᴇɴᴍᴀʀᴋ, Fʀᴀɴᴄᴇ, Gᴇʀᴍᴀɴʏ, Iᴛᴀʟʏ, ᴛʜᴇ Nᴇᴛʜᴇʀʟᴀɴᴅs, Pᴏʟᴀɴᴅ, Sᴘᴀɪɴ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, Uᴋʀᴀɪɴᴇ ᴀɴᴅ ᴛʜᴇ USA — ᴅᴜʀɪɴɢ ᴍᴀɴʏ ʀᴇɴᴏᴡɴᴇᴅ ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ꜰᴇsᴛɪᴠᴀʟs sᴜᴄʜ ᴀs:

• Wᴀʀsᴀᴡ Aᴜᴛᴜᴍɴ (Pᴏʟᴀɴᴅ, 2014, 2015, 2017),

• CIME / ICEM ɪɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ ᴍᴜsɪᴄ ғᴇsᴛɪᴠᴀʟ & ᴄᴏɴғᴇʀᴇɴᴄᴇ ɪɴ Dᴇɴᴛᴏɴ (Tᴇxᴀs, USA, 2014),

• Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇʀ Mᴜsɪᴋᴛᴀɢᴇ: NEXT GENERATION ᴘʀᴏɢʀᴀᴍᴍᴇ (Dᴏɴᴀᴜᴇsᴄʜɪɴɢᴇɴ, Gᴇʀᴍᴀɴʏ, 2014), 

• JIMEC — Lᴇs Jᴏᴜʀɴᴇ́ᴇs Iɴᴛᴇʀɴᴀᴛɪᴏɴᴀʟᴇs ᴅᴇ ʟᴀ Mᴜsɪǫᴜᴇ Éʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪǫᴜᴇ ᴇᴛ ᴅᴇ ʟᴀ Cʀᴇ́ᴀᴛɪᴠɪᴛᴇ́ (Aᴍɪᴇɴs, Fʀᴀɴᴄᴇ, 2015),

• Mᴜsɪᴄᴀ Pᴏʟᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016),

• TAURON Mᴜsɪᴄᴀ Eʟᴇᴄᴛʀᴏɴɪᴄᴀ Nᴏᴠᴀ (Pᴏʟᴀɴᴅ, 2016, 2019),

• Yᴏᴜɴɢ Cᴏᴍᴘᴏsᴇʀs Mᴇᴇᴛɪɴɢ (Aᴘᴇʟᴅᴏᴏʀɴ, Nᴇᴛʜᴇʀʟᴀɴᴅs, 2017),

• Mᴜ́sɪᴄᴀ ᴇ ᴀʀᴛᴇ: ᴄᴏʀʀᴇsᴘᴏɴᴅᴇɴᴄɪᴀs sᴏɴᴏʀᴀs (Sᴀɴᴛɪᴀɢᴏ ᴅᴇ Cᴏᴍᴘᴏsᴛᴇʟᴀ, Sᴘᴀɪɴ, 2017)

• Cᴏᴍᴘᴏsᴇʀ Cᴏʟʟɪᴅᴇʀ 2018 ᴡɪᴛʜ ᴇɴsᴇᴍʙʟᴇ ᴍᴜsɪᴋFᴀʙʀɪᴋ ᴘʟᴀʏɪɴɢ Hᴀʀʀʏ Pᴀʀᴛᴄʜ ɪɴsᴛʀᴜᴍᴇɴᴛs (Kᴏ̈ʟɴ, Gᴇʀᴍᴀɴʏ, 2018), 

• CODES: Fᴇsᴛɪᴠᴀʟ ᴏғ Tʀᴀᴅɪᴛɪᴏɴᴀʟ ᴀɴᴅ Aᴠᴀɴᴛ-ɢᴀʀᴅᴇ Mᴜsɪᴄ (Lᴜʙʟɪɴ, Pᴏʟᴀɴᴅ, 2018),

• BEM18 (Bʀᴜssᴇʟs Eʟᴇᴄᴛʀᴏɴɪᴄ Mᴀʀᴀᴛʜᴏɴ 2018, Bᴇʟɢɪᴜᴍ),

• Fᴇsᴛɪᴠᴀʟ Mɪᴋʀᴏᴛᴏ̈ɴᴇ (Bᴀsᴇʟ, Sᴡɪᴛᴢᴇʀʟᴀɴᴅ, 2019),

• EsᴛOᴠᴇsᴛ Fᴇsᴛɪᴠᴀʟ – Lᴇ Sᴛʀᴀᴅᴇ ᴅᴇʟ Sᴜᴏɴᴏ (Gᴇɴᴏᴠᴀ, Iᴛᴀʟʏ, 2020)

...ᴀɴᴅ ᴍᴀɴʏ ᴏᴛʜᴇʀs.


//    STRZ ɪs ᴀʟsᴏ ᴛʜᴇ ᴄᴏ-ғᴏᴜɴᴅᴇʀ ᴏғ ᴀ ᴘᴏʟɪsʜ ɴᴀᴛɪᴏɴᴡɪᴅᴇ ᴄᴏɴғᴇʀᴇɴᴄᴇ ғᴏʀ ɴᴇᴡ ᴍᴜsɪᴄ ᴀɴᴅ sᴏᴜɴᴅ ᴀʀᴛ ELEMENTI, ᴏʀɢᴀɴɪsᴇᴅ ᴀɴɴᴜᴀʟʟʏ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ.

//    Hᴇ ʜᴀᴠᴇ sᴛᴜᴅɪᴇᴅ ᴄʟᴀssɪᴄᴀʟ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ ᴜɴᴅᴇʀ Zʙɪɢɴɪᴇᴡ Bᴀʀɢɪᴇʟsᴋɪ (2011-2014) ᴡɪᴛʜ ᴇɴʜᴀɴᴄᴇᴅ ᴇʟᴇᴄᴛʀᴏᴀᴄᴏᴜsᴛɪᴄ & ᴀʟɢᴏʀɪᴛʜᴍɪᴄ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴘᴇᴄɪᴀʟɪsᴀᴛɪᴏɴ ᴜɴᴅᴇʀ Mᴀɢᴅᴀʟᴇɴᴀ Dʟᴜɢᴏsᴢ (2015-2020) ᴀᴛ ᴛʜᴇ Kʀᴀᴋᴏ́ᴡ Aᴄᴀᴅᴇᴍʏ. Mᴏʀᴇᴏᴠᴇʀ, ʜᴇ ᴘᴏʟɪsʜᴇᴅ ʜɪs sᴋɪʟʟs & ᴄʀᴀғᴛ ɪɴ ᴛʜᴇ ᴄᴏᴜʀsᴇ ᴏғ ɴᴜᴍᴇʀᴏᴜs ᴍᴀsᴛᴇʀᴄʟᴀssᴇs, ᴍᴏsᴛ ɴᴏᴛᴀʙʟʏ ᴅᴜʀɪɴɢ ʟᴇssᴏɴs ᴡɪᴛʜ Cᴀsᴘᴀʀ Jᴏʜᴀɴɴᴇs Wᴀʟᴛᴇʀ, Mᴀʀᴋ Aɴᴅʀᴇ, Cʟᴇᴍᴇɴs Gᴀᴅᴇɴsᴛᴀ̈ᴛᴛᴇʀ, Jᴇɴɴɪғᴇʀ Wᴀʟsʜᴇ, Eɴɴᴏ Pᴏᴘᴘᴇ, Sᴛᴇғᴀɴ Pʀɪɴs, Jᴏʜᴀɴɴᴇs Kʀᴇɪᴅʟᴇʀ, Zʏɢᴍᴜɴᴛ Kʀᴀᴜᴢᴇ, Mᴀɴᴏs Tsᴀɴɢᴀʀɪs, Uʀᴏš Rᴏᴊᴋᴏ, Rɪᴄʜᴀʀᴅ Aʏʀᴇs, Jᴏᴇ Cᴜᴛʟᴇʀ, Mᴀʏᴋᴇ Nᴀs ᴀɴᴅ Oʟɪᴠᴇʀ Sᴄʜɴᴇʟʟᴇʀ. 

//    Iɴ ᴛʜᴇ ʏᴇᴀʀs 2012-2016 STRZ sᴇʀᴠᴇᴅ ᴀs ᴛʜᴇ ʜᴇᴀᴅ ᴏғ ᴛʜᴇ ᴄᴏᴍᴘᴏsɪᴛɪᴏɴ sᴛᴜᴅᴇɴᴛs’ ᴄɪʀᴄʟᴇ ᴀᴛ ᴛʜᴇ Kʀᴢʏsᴢᴛᴏғ Pᴇɴᴅᴇʀᴇᴄᴋɪ Aᴄᴀᴅᴇᴍʏ ᴏғ Mᴜsɪᴄ ɪɴ Kʀᴀᴋᴏ́ᴡ, ᴏʀɢᴀɴɪsɪɴɢ ɴᴜᴍᴇʀᴏᴜs ᴄᴏɴᴄᴇʀᴛs, ᴄᴏɴғᴇʀᴇɴᴄᴇs ᴀɴᴅ ᴅᴇʟɪᴠᴇʀɪɴɢ ᴏᴘᴇɴ ʟᴇᴄᴛᴜʀᴇs.

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YOSHIMAYO

PressureWorks5

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Igor Awdiejew

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viacheslav kyrylov