Grabaciones Solistas 1979 - 1985

Soledad

Movimiento

5/29/22  9:57am

Instinkt UA Schola Heidelberg 15.6.2008 DLF

Documentation of visitor powered sound installation for Listening to Ballona at the Natural History Museum of the Future at the festival Time to Listen 2023, Akademie der Künste Berlin and made in collaboration with Andrea Heilrath.  Visitors generate electricity to power the audio by pedaling: too fast or too slow will distort time and pitch of the wildlife (birds, etc) recorded at the Ballona wetlands (Los Angeles, CA)June 4, 2023.  The cycle was pedaled by Carola Bauckholt and audio recording by Andrei Cucu.

Listening To Ballona@Natural History Museum of the Future-Carola Bauckholt pedaling  (AdK, 8/2023)

Portami con te nel mattino vivace by Maura Capuzzo was transcribed for guitar from the original piano by Daniel Rothman, and played by Ruben Mattia Santorsa in the Buchengarten with Listening to Ballona in the Natural History Museum of the Future.  The cycle was pedaled by Carola Bauckholt; image of Ruben Mattia Santorsa by Caspar Johannes Walter; Audio recording by Andrei Cucu.

Listening to Ballona/portami con te nel mattino vivace-Ruben Mattia Santorsa, guitar

Ballona Valentine

Daniel Rothman & Andrea Heilrath speak to visitors of Time to Listen Festival at the Akademie der Künste Berlin (18 Aug 23) about Listening to Ballona at the Natural History Museum of the Future.

Daniel Rothman artist introduction Akademie der Künste Berlin

Im Auge des Klangs   WDR Symphonieorchester, Ltg. Emilio Pomàrico

new ensemble under Ed Spanjaard
Live performance
Instrumentation: 
flute, oboe, bass clarinet, guitar, mandolin, piano, harpsichord, percussion, harp, vn, va, vc, db

In Lame Butterfly, the sound world of the plucked-sting instruments greatly influences the sonority of the whole ensemble.
The musical fabric is layed out in duos, hypo-duos (one single instrument takes on a dual role on some musical level), and hyper-duos (goups of instuments are fused to create two independent groups, two simultaneous musical entities).
The instruments' location on the stage, the movement of the conductor’s hands, the name of the piece itself, it all refer to a somewhat sadly imperfect symmetry that was present since the beginning, in the musical ideas for the piece.
-Erik Oña (1996)

Lame Butterfly (1996) for ensemble - LIVE

Nouvel Ensemble Moderne under Lorraine Villancourt
Instrumentation: fl, ob, 2cl, bn, hn, tpt, ten, perc, pno, 2vn, va, vc, db

Ivan Lermolieff was the pseudonym with which Giacomo Morelli wrote about theory of art. Morelli —who died in 1891 with the rank of Italian senator— was able to correctly attribute authorship of masterpieces by concentrating on  inconspicuous details. Indeed, his books extensively catalogue earlobes, fingernails, shapes of fingers and of toes as painted by major Renaissance artists. By the end of the nineteenth century, both his unorthodox method and his somewhat spectacular attributions, won his theories considerable ascendancy among European intellectuals (as Freud admits in his well known essay on Michelangelo’s Moses, Moreli’s ideas even fertilized the conception of psychoanalysis).
 
“Per Ivan Lermoliev” grew out of a concern with details. From a reduced core of materials, various parts of the piece differentiate themselves by “concentration” or “distillation” of minute traits. On a more global level, an exchange in formal weight occurs. Successive introductions, that by being conjoined lose in part their preparatory character, and successive codas, also partly deprived of their cadential sense for the same reason, frame a shorter, non-directional, and rather static central section.
-Erik Oña (1991)

Im Auge des Klangs WDR Symphonieorchester, Ltg. Emilio Pomàrico

Carola Bauckholt

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