Udo Matthias

"La Nadaaaaaaa!!!" Folk parcialmente paranormal de otras épocas, básicamente...

La Nadaaaaaa - Diagonala 2017-02

Karl F. Gerber Approaches Re-Assembled (2020 / 2021) 5:18 Das Stück beruht auf Klangmaterial aus Aufnahmen meiner Komposition Approaches für Flöte, Altflöte und dem von mir gebauten interaktiven Violinautomat. Dies stellt ein interaktives „Computermusik“- Stück mit ausschließlich akustischen Klangerzeugern dar: Flöten und mechatronisch angetriebene Violine. Vom Ansatz her ein Duett aus dem Moment heraus; im Hier und Jetzt. Nach meiner Anregung schuf Friedemann von Rechenberg nun eine elektronische Assemblage der Instrumentalklänge und der mechanischen Artefakte des elektro-mechanischen Automaten. Quellmaterial waren die Tonspuren aus einer Filmdoku des Werks von Hans R. Weiss, die selbstredend auch die Querflötenstimme enthielt (Karina Erhard). Zusätzlich trug ich noch Nahaufnahmen von den mechanischen Klangartefakten des Mechanismus bei, dafür wählte ich teilweise extreme mechanische Anregung. Das ursprüngliche interaktive Stück Approaches lebt aus dem Moment heraus, wenngleich die Algorithmen eine rigide Struktur vorgeben. Dort trug die Verantwortung für den musikalischen Zusammenhang im Detail die Flötistin Karina Erhard. Bei der Assemblage habe ich den Ablauf und die Einbettung der Strukturen an Friedemann von Rechenberg überantwortet. Die Maschine verkörpert beinahe unbeugsam Spektren, Strukturen, Resonanzen, Rhythmen – kein Vergleich mit elektronischer Klangsynthese. Wir akzeptieren dies, jetzt oder nie.       ENGLISH The piece is based on sound material from recordings of my composition Approaches for flute, alto flute and the interactive violin automaton that I built. This represents an interactive “computer music” piece with exclusively acoustic sound generators: Flutes and mechatronically driven violin. In terms of approach, a duet out of the moment; in the here and now. Following my suggestion, Friedemann von Rechenberg then created an electronic assemblage of the instrumental sounds and the mechanical artefacts of the electro-mechanical automaton. The source material comes from the soundtrack of a film documentary of the work by Hans R. Weiss, which of course also contained the flute part (Karina Erhard). In addition, I contributed close-ups of the mechanical sound artefacts of the mechanism, for which I partly chose extreme mechanical excitation. The original interactive piece Approaches lives out of the moment, although the algorithms provide a rigid structure. There, the flutist Karina Erhard was responsible for the musical context in detail. In the assemblage, I handed over the process and the embedding of the structures to Friedemann von Rechenberg. The machine almost unbendingly embodies spectra, structures, resonances, rhythms—no comparison with electronic sound synthesis. We accept this, now or never. 
Komposition: Karl F. Gerber
Bearbeitung: Friedemann von Rechenberg

Approaches Re Assembled Gerber

WEATHER SOUNDS
how does our weather sound in Germany Kandern OT Nebenau? That's relatively easy to answer and to hear with MAX. JavaScript Object Notation embedded in MAX is the data exchange format that enables these transfers. One can easily get longitude and latitude. Also the associated time zone including temperature, wind and precipitation. This data can be transformed as information into sounds, where of course the taste of each individual musician, i.e. the human being as a holistic being, plays an important role. In this sense, I hear the weather like this song today, maybe not at all tomorrow, and in the future, if God wills it will always be a little different. So for me it's also JAZZ, blues, new music, NOISE etc. and electronic sound music, since the improvisation is shaped by me using the weather and the choice of instruments. The procedure can perhaps also be called composition in the broadest sense. In any case, the result is also dependent on my ego seen from the inside, i.e. the first person from me to the ego of the second person, i.e. the listener with his ego. As always, you have the freedom as listener to hear what you like and yow think what is important for you. Without pettiness and stereotypes.

Wetterklänge

From Work with Sensors. Reassembled by Friedemann von Rechenberg

ForSensors

Szene im Schnee

Das Zittern

04 - Ich Maschine

01 - Wall 1

Tunnel 1

from @c-a-n-v-a-s - Cipher(Compilation LP)
Format: Digital, Vinyl 
Cat.No: CANVAS004
Release Date: 22 February 2019

**

C.A.N.V.A.S. announces ‘Cipher’ compilation featuring Michael Speers, Xao, object blue, Ashley Paul, Ben Vince, Ausschuss, Olan Monk, Flora Yin-Wong and Lugh.

Out 22nd February 2019

**

Label and artist platform C.A.N.V.A.S. are pleased to announce compilation album ‘Cipher’, out on the 22nd February 2019.

The fourth release since their cross over from subterranean performance series to label, this LP features Michael Speers, Xao, object blue, Ashley Paul, Ben Vince, Ausschuss, Olan Monk, Flora Yin-Wong and Lugh.

Each artist has responded to specific thematic instructions to create a contextually coherent, although artistically varied collective work.

In the context of increasing digitisation and codification as a means to recreate, record, communicate and propagate events from the real world, Cipher plays with different processes by which musical material is abstracted and codified.

This project reconsiders the graphic score and other means by which music has been codified. Cipher considers the hegemony of authorship in the context of codification of music, and speculates on possible means for musical propagation, whether they uphold human authorship or neglect it.

Responding to one of three sub-themes relating to the context, the 9 artists contribute works which will be released on vinyl and digitally in 22nd February 2019.

In line with their core idea of bringing together dispersed artists, C.A.N.V.A.S. are also holding two events, in London and Berlin to showcase the release.

credits
directed by Lugh O’Neill
graphic design by Louise Borinski 
mastering by Ali Najafi

CANVAS logo design by AALTAR

press contact, Isis O’Regan > isis@worldwidefriendlysociety.com

@lu_gh @floraytw @michaelspeers @ausschuss @xao-3 @ashleypaul @objectblue @vince21music @olanmonk

www.c-a-n-v-a-s.com

Flora Yin-Wong - Murmures

mehr tonal oder so..
only an idea without solo guitar and drums!!

Wonderful Frames

Wonderful1

INAGRM - Groupe de Recherches Musicales

Hauptdiagonale
August Macke

INAGRM Hauptdiagonale

Sensum Frequenzumver2 7

Lonely Sunday

Movement #1 & #2

Wie sieht/hört sich Bewegung im Winter an? Welche Klangfarben
besitzt die Farbe weiß?
Mix am Laptop:
•	Umgebung ländlich
•	Farbe Schnee weiß
•	Schneeflocken al Kristalle
Elemente:		
•	Sounds von CSound
•	Sounds von Super Collider
•	Percussion Sounds
Absicht:
•	Vergrößerung meines Klangschatzes

Movement # 1 & # 2

How does movement look/sound like in winter? 
What timbres has the color white?

Mix on the laptop:
• Rural environment
• Color snow white
• Snowflakes as crystals
Elements:
• Sounds from CSound
• Sounds from Super Collider
• Percussion sounds
Intention:
• Enlargement of my sound-treasure

Movement#2

Forum für Produzenten und Förderer experimenteller avantgardistischer Elektronischer Musik.

Es gibt noch eine Menge altes Zeugs von mir, bin aber zu faul es in mp3 zu wandeln. Auch diese Auswahl zeigt mich nicht immer von der besten Seite. Das ist mir aber egal.

Wetterklänge

Udo Matthias drums/perc/electronic

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