Obiekty (zabytkowe kamienice, kościoły, fragmenty przedwojennych nawierzchni, etc.) znajdujące się na terenie Dzielnicy Śródmieście mają bogatą i w wielu przypadkach szczegółowo opisaną historię, z którą każdy z zainteresowanych może zapoznać się za pośrednictwem licznych publikacji książkowych oraz stron internetowych. Mało uwagi poświęca się natomiast niezwykle ciekawej audiosferze tych miejsc — dźwiękom, będącym integralną ich częścią, składającym się na unikalne brzmienie i charakter danej przestrzeni.

"Przestrzenie / Spaces" to cykl interpretacji dźwiękowych wybranych obiektów znajdujących się w Śródmieściu. Nagrania zostały zrealizowane m.in. nad Wisłą, na Placu Trzech Krzyży, w kościele św. Aleksandra, na terenie Dworca Śródmieście, Ściany Wschodniej i Osiedla "Torwar".

Projekt został zrealizowany w ramach stypendium artystycznego Dzielnicy Śródmieście m.st. Warszawy.

Eastern Wall I

Torwar Estate

LALAI:  BY                     ALI           OSTOVAR
VOCAL:                HANI            MOJTAHEDY
SEHTAR:        SHAHRAM         MOHAMADI
POEM: TRADITIONAL  PERSIAN LULLABY

Released on: 2020-07-03
℗ 2020 Alireza Ostovar

The lullaby (Lalai) is a piece originally made for a performance called "Picture of Resistance" and performed at the "Magacin Art Gallery" in Belgrade. The event, which was planned independently, featured the piece, along with other pieces of my colleagues, all of whom had moved to Belgrade to perform Marina Abramovic's work.

The performance was inspired by the protest and spontaneous movement of "the Girls of Enghelab Street", and that work is dedicated to them and all Iranian women in their fight, struggle and resistance. All these years have been and will be oppressed. It is the direct and indirect (symbolic) message of freedom, freedom of speech, freedom of opinion, and freedom of dressing (hijab).

At that performance, the audience shows interest in the piece, and I received many requests to send the music to them, so I decided to make this shorter version just for listening and share it with everyone. 

The music is based on a Persian folklore lullaby, but it is a combination of several genres and cultures of different music, which I call Transcultural Electroacoustic Music.
The lullaby is repeated over time in this piece and tells an unclear story that the listener can perceive with their own perceptions.

I hope that one day these pains will be healed, even though the wounds will remain.
Hoping for peace and freedom for all,
Alireza Ostovar

.لالایی، قطعه‌ای است که در ابتدا برای یک اجرای پرفورمنس به اسم "تصویر مقاومت" ساخته شد
،آن اجرا از حرکت اعتراضی و خود جوش “دختران خیابان انقلاب” الهام گرفته شد و آن کار هم تقدیم شده به آنها و تمام زنانِ ایرانی برای مبارزه، تلاش و مقاومتشان در طی تمام این سال‌ها که به آنها ظلم شده است و میشود. آن اثر پیامش به طور مستقیم و غیر مستقیم (سمبلیک) آزادی بیان، آزادی عقیده، و آزادی پوشش (حجاب) است
.موسیقی این کار بر اساس یک لالایی فلکلر (محلی) ساخته شده است
.این قطعه‌ موسیقی تلفیقی است از چند سبک و فرهنگ موسیقی مختلف
این آواز در طول زمانِ این قطعه، تکرار میشود و 
   .داستانی غیر واضح را روایت می‌کند، که شنونده میتواند آن را با فهم و تصورات خود دریافت کند
.امیدوارم که روزی این درد‌ها خوب شوند، هر چند جای زخم‌ها باقی میماند 
،به امید صلح و آزادی برای همه
علیرضا استوار

https://aliostovar.bandcamp.com/track/lalai-lullaby

Lalai

Lalai (Lullaby) - Ali Ostovar (feat Hani Mojtahedy & Shahram Mohamadi)

W pierwszym odcinku drugiego sezonu WLotu zabieramy Was na wyprawę na dzikie Polesie tuż przed wybuchem II wojny światowej, a to za sprawą kryminału Pawła Rzewuskiego „Syn Bagien”. Kapitan Maurycy Jakubowski rozwiązuje sprawę tajemniczych zaginięć, a jego przeciwnikiem wydają się być złowrogi wojewoda Wacław Kostek-Biernacki i siły nie z tego świata. W drugiej części tłumaczka Katarzyna Makaruk przybliży nam fantastyczne opowiadania Kelly Barnhill z książki „Straszliwe młode damy i inne osobliwe historie”. Czy Barnhill to następczyni Neila Gaimana? Wiele na to wskazuje.

WLot 21 - Paweł Rzewuski, Katarzyna Makaruk

Tember Ensemble (2022, rearranged from the live recording)
Alireza Ostovar (live-electronics, mix & mastering)
Azin Zahedi (santur & flute)
Petros Tzekos (percussions)

This research/production project aimed to explore how "transcultural electroacoustic music" might evolve, intending to create a new electroacoustic piece that explores innovative sounds and compositional possibilities directed by Alireza Ostovar in collaboration with Tember Ensemble musicians & guests. 

more information here: http://aliostovar.com/tember-ensemble/
The Album has released on 8 March 2023.
Check it out on Tember's channels:
https://tember.bandcamp.com/album/live-2022
https://soundcloud.com/tember-ensemble

-----------
This track s part of the research and production project by Alireza Ostovar, supported by the DMR scholarship program 2022, NEUSTART KULTUR.

The emergence of the unknown (Live) (Santur, flute, percussions, and live-electronics (2022)

Composed for and performed by the Korean master of the daegum (Korean bamboo flute), Kim Jeong-Seung, and recorded on his CD, Contemporary Daegum.

Notes: 
from a single calligraphic stroke, a vision of N’Shima emerges (2010)
for daegum, viola, and cello

Five years before writing this piece, when I wrote a piece for kayageum, the Korean zither, I was confronted with two main possible approaches: either to compose music that adapted stylizations of traditional Korean repertoire, or to manipulate the traditional instruments to speak in the grammar of the contemporary music of the West.  What I decided to do instead was to create a middle ground by imagining a fictitious folk tradition.  In writing this piece featuring daegum (Korean transverse bamboo flute), I returned not only to this approach, but also to the image of the cosmology I invented when I composed my earlier piece for kayageum.  The myth of N’Shima follows.

On the island of N’shima, native Ainu people play instruments imported from Korea.  The people of N’shima are tree weavers (in fact, the whole island is a boat whose hull is the complex woven roots of the Gingko trees – the fruits of which are the only export of the island).  The natives, living on such an island (the island constantly floats between oceans and time) have developed a great sense of memory, but have no sense of beginning or end (or East or West) or chronology.

From A Single Calligraphic Stroke, A Vision Of N'Shima Emerges

Alation (2017)
Commissioned by Geori

My body is inscribed with texts.

Et ignotas animum dimittit in artes.

The epigraph to James Joyce’s A Portrait of the Artist as a Young Man is tatooed on my left forearm. Joyce invokes the moment in Ovid’s Metamorphoses in which the inventor Daedalus “turns his mind to unknown arts,” the moment when he was inspired to invent flight. The magic of that instant speaks to all creative moments, the transcendence of terrestrial boundaries. This tattoo reconciles seemingly opposed kinds of knowledge that my art practice seeks to balance: one that is mediated through our bodies and the other that is firmly anchored to logos, that is, knowledge acquired through language. The aesthetic tradition of the West has long privileged the headiness of logos and sublimated notions of the body. I want to inhabit--I do inhabit--a democratic landscape where both can inform each other. On my body, the canvas of my flesh is as much part of the message as the Latin that floats on its surface.

“Alation” is the condition of having wings. Besides the Joycean connotations of striving for flight, there was something about pitting a piano against a Korean instrument, in this piece an ajaeng, which also aligned with how I have come to think of different performance traditions as representing different kinds of thinking. The piano is the non plus ultra of equal-tempered structural hearing, whereas East Asian instruments represent a more embodied kind of thinking. What I wanted to investigate were ways in which the piano could be coopted into what I think of as an earthier mode of sounds – natural overtones and the highlighting of what are usually thought of as artifacts of production noise - pedaling as a sound and key noise (without letting it strike a note!) – in the hopes that that space of earthier sounds would also be a space where the ajaeng and piano might mutually be foreign.

Alation

Saz-e Shekaste (broken instrument) Live 05 (improvisation)

The new music and sound performance by Ali Ostovar explores working with objects associated with his memories from the past, especially in relation to his childhood memories with his father in his native Iran. The title of the performance refers to a song of the same name by Delkash, one of the iconic singers of the 1940s–1960s in Iran. Ali listened to many Iranian songs at home during his childhood, as his father was fascinated with both listening to and playing traditional music. The title also refers to his life story of carrying a broken Iranian setar around Europe for more than 12 years to find someone who could fix it; he still kept it even after buying a new one.
At the performance, he will play approximately 60 minutes of live-electronic music using his laptop, a few cassette players, a synthesizer, and possibly other instruments, questioning what it means to bring the past into the present or keep it there. Does the past consist only of what we remember? And what about what we don’t remember? 
He recreates personal memories by selecting different sound materials, using sonic metaphors and transculturation, and playing with time, frequencies, and transformation.

Berlin, 23.June.2023
http://aliostovar.com/saze-shekasteh/

Saz-e Shekasteh #05

live at km28 (Berlin)

live recording of the premiere of "deep terrane (earth dreams itself, sweating)," which overlaps with "nestbuilder" (nestbuilder begins around 25:20)

with MAM.manufaktur für aktuelle musik & Ty Bouque:
-Ty Bouque [voice: dt + nb]
-Gregor Schulenburg [flutes: dt; glass: nb]
-Heni Hyunjung Kim [contrabass clarinet: dt; glass: nb]
-Sarah Saviet [violin: dt; glass: nb]
-Paul Hübner [trumpet: dt; glass: nb]
-Simone Beneventi [prepared bass drum: dt; glass: nb]
-T McCormack [prepared bass drum: dt; glass: nb]

more info:
https://www.timothy-mccormack.com/earth-dreams-itself
https://www.timothy-mccormack.com/nestbuilder
https://www.timothy-mccormack.com/deepterraneproject

[photo credit: Hang Su, @oliver_espace]

Studnia Jarosławska

Tomasz Wirchanowski