Sascia Pellegrini: knobs, faders, buttons.
Laptop: live processing.
Microphone and Hydrophone: signal processing.
Loudspeakers & Headphones: real time outputs.
Guests: Sound Card, Cables and Power Plugs.

Aphrodisia from The Repository Project

Program Notes

In Outside-time sketch, my intention is to match live instruments with electronics not in the direction of creating homogeneous textural chunks, but rather of creating a coexistence of these two units in an organically effective form. For this reason, the two cellos are always prominent throughout the work. Their sound is captured by a Max4Live device developed by me which randomizes the parameters of a Delay plugin during the performance (real-time) yielding the electronic sound thereby.

The rhythmic and tone material of the work consists of quasi improvised outside-time structures: Iannis Xenakis coined this term, to characterize generic material, not formed into an organized or systematized pattern. There is no fixed media part; everything is generated with the help of the device led by the passion of the two cellists.

Cello 1: Yelda Özgen Öztürk
Cello 2: Bike Öner
Premiere: 10/06/2022, Usmanbaş hall, ITU MIAM, Istanbul

Outside - Time Sketch, for two cellos and live processing (2022)

Duet 5

Duet 4

Duet 3

Duet 2

Duet 1

This hypnotic track includes improvised vocal sounds, sometimes known as glossolalia, along with found sound, live processing, synths, and percussion. The image used with this track is made up of our performance kit; in this case the Blu Sun steel gong and Chinese Feng (Wind) gong.

Glossolalia

This is an excerpt from a longer jam session recorded live at The Premises in London, using live sound processing and mixing, synths, vocal improvisation, found sounds, and percussion. The image that goes with this track is made up of our performance kit.

Cloud Forest

We are an experimental sound collective that uses live mixing and an array of unconventional techniques to create improvised soundscapes. Crafted with field recordings, guitars, percussion, gongs, synths, and voice, each set is an unrepeatable dialogue between sounds that we collect and manipulate and the spaces and places in which we find ourselves.

If you like my work consider to support my The Repository Project on Bandcamp; or buy me a coffee: https://ko-fi.com/sasciapellegrini
Sascia Pellegrini was born a piano player, grew into a pianist/composer and is now maturing as a
percussionist and performer/composer.
He researches improvised and written music with a special interest in the perception of the act of
performance and the deeper implications of musical thinking. He often leads workshops on these
themes in universities and music schools for composers, instrumentalists and performers.
In his musical research, Sascia combines compositions for, among others, live electronics,
visuals and percussion. He has written music for various ensembles and has developed
choreography and visual works often in collaboration with dancers and other media artists.
As a percussionist/composer he has performed extensively in Italy, France, Germany, China,
Japan, Hong Kong and in his place of residence, Singapore. He has performed in Concert Halls, Theaters,
Art Galleries and Art Spaces, primarily as soloist and composer.
He was trained in percussion and composition at the Italian Conservatory “Puccini” of La Spezia
and he joined percussion, composition and conducting classes at IRCAM in Paris. In the course
of these studies he has met, learned from and shared ideas with a variety of stimulating
composers and performers.

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here: https://www.labor-beethoven-2020.de/de, and for the final output: In Love…, for voice, ensemble and mixed media https://www.youtube.com/watch?v=ORJfUvJ0iUo, Circus Story: Taming the animals, for alto saxophone, percussion and fixed media https://www.youtube.com/watch?v=EhBiIEBGrY4

His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), and the UK (Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble). Upcoming activities comprise performance of the existing work Ripping…having…standing…oben!!, for ensemble in Versipel New Music festival, Louisiana (postponed for 2021 due to pandemics) and a premiere of a work specifically written for MISE-EN festival, New York (postponed for 2021 due to pandemics). 

For a detailed CV follow this link: https://www.dropbox.com/s/hprdtba1p9plqhj/CV.pdf?dl=0

New tracks tagged #Live Processing