nothingness / ništavilo
for alto saxophone, cello, accordion, electronics and narrator

Performed by:
Cello - Srdjan Sretenović
Sax - Milan Savić
Accordion- Luka Lopičić
Narrator - Petar Božović
Electronics - Vladimir Korać

text extracts - Petar Petrović Njegoš - Luča mikrokozma

Live recording: premiere, 19th May, 2021, Eufonija festival 6 - "Nova srpska muzika za harmoniku", Srpsko narodno pozorište, scena "Pera Dobrinović", Novi Sad, Serbia

nothingness (2021)

Even the sky screams sometimes too II (2018) for bajan solo. Commissioned for the Delian Academy for New Music 2018, GR, with the friendly support of SIEMENS Music Foundation. 

Performed by Panagiotis Andreoglou at the Opening Concert of the outHEAR New Music Week, Dec 8, 2019. https://www.outhearnewmusic.com/post/music-dialogues-opening-concert-for-solo-accordion
More info for Panagiotis Andreoglou at http://www.panagiotisandreoglou.com/

Program note

The Russian composer Sergei Berinsky said of the bajan that it is an instrument with “human breath, but an inhuman voice, …” In my first work for bajan, I sought to explore its ‘human breath’ with a large measure of spontaneity of expression and gain some insight on the ‘peculiarities’ and particularities of this not widely understood instrument.

Although some extended techniques are applied — some air-noises, sparse breaths, and button pizzicati — this is fundamentally a tonally and rhythmically inclined work, immersing into the immense range of timbral shadings of the instrument.

The piece is set in two halves of equal duration: a slow, immersive, fuzzy and explorative first part with a fragmentary style and frequent changes of tension and pace, introspective regions of repose followed by energetic gestural rapidity; and a decisive, virtuosic, fast, explosive and almost demonic, rhythmically motor-driven second part. 

All musical ideas are imperfect and vulnerable, ephemeral and distorted. They are constantly in a state of flux and are constantly being revised.

Dimitri Papageorgiou, Even The Sky Screams Sometimes Too II

Performed by United Instruments of Luicilin
Shopie Deshayes - flute
Jean-Philippe Martignoni - cello
Guy Frisch - percussion
+
Jug Marković - electronics
Live performance at Rainy Days Festival, Luxembourg, 20.11.2021.

rusty rose(2021) - for flute, cello, percussion and electronics

SWR SYMPHONIEORCHESTER STUTTGART 
conducted by
TEODOR CURRENTZIS
Live-Recording from the Liederhalle Stuttgart

THETA – MUSIC FOR ORCHESTRA VIII (2023)

Lorenzo Troiani - Toccare. L'abisso Che Dunque Sono (2022/23) for string trio.

Schallfeld Ensemble
Lorenzo Derinni - violin
Francesca Piccioni - viola
Myriam Garcia Fidalgo -violoncello
--

Commissioned by Schallfeld Ensemble, with the support of the BMKOES.
Live recorded in Croma Festival, Oeiras (Portugal) on the 15.03.2023

Foto: Unntitled - Jannis Kounellis

Lorenzo Troiani - Toccare. L'abisso Che Dunque Sono

machìna - Action at Resistance Miami (live) 

A performance based on the artist's latest release, Action is inspired by the defining harmony of rhythm and sound. The abstraction of simple techno beats and the processed overlaying of musical percussions is at the core of this exploration into the depth and complexity of techno. The live show is pared back, with the intention of being able to play in a variety of venues and with an affordance that allows the music to be tweaked on stage for the occasion. Live music for dancing.

自身の最新作「Action」をベースに構築されたライブセットとなっており、リズムとサウンドの決定的な調和にインスパイアされている。ダイレクトにテクノを連想させる様なビートを抽象化し、加工されたパーカッションのレイヤーを重ねていく事で、テクノの深みと複雑さを探求。このライブセットはステージ上で即興的にパフォーマンスをできる様なシンプルさを持たせる事で、様々な会場での演奏を可能としている。まさに踊ることに特化したセットである。

RDC 071 - machìna

Accordion and electronics - Branko Džinović
Violoncello - Aleksandar Latković
Composition - Score, Interaction design (electronics) - Svetlana Maraš

Premiered and recorded at Belgrade Philharmonic Hall in March 2020.

VIDEO: https://www.youtube.com/watch?v=rCWx1RZaj3A&fbclid=IwAR20g4dJCQmcjUcjXXM3tqmQouWZ6eMM1xPrDh69dMiqO9h2SjRYgZRs1nc

Chamber music - for accordion with electronics and violoncello

'Astatine' for saxophone, accordion, cello & electronics
Composed 2019

Commissioned and performed by Trio Saeitenwind
Karolina Öhman: cello
Olivia Steimel: accordion
Jonas Tschanz: saxophones

Live recording at Biel/Bienne on 20 October, 2019.

'Astatine' (2019) for saxophone, accordion, cello & electronics

Now as my men were on their way I said a word to them: ‘You think you are on your way back now to your own beloved country, but Circe has indicated another journey for us, to the house of Hades and the revered Persephone there to consult with the soul of Teiresias the Theban.’
	— Homer, The Odyssey

The name Nekyia is derived from the title of the 11th chapter of the Odyssey, at which point Odysseus and his crew have just escaped from Cerce’s island. But before they can return to Ithaca, they must make a ritual invocation of the Dead to obtain directions from the departed seer Teiresias. 
This composition conjures an image of the hero on the cusp of the transition from one adversity to another: first, enchantment, as on Cerce’s island; secondly, daemonic confrontation, as in the encounter with Teiresias. Alluring enchantment and terrifying confrontation merge and transform into one another. But in the end, they both recede like thunder rolling away, and we return “home” to our own here and now.
Nekyia was written in the late 1970’s at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), then a project of the Stanford Artificial Intelligence Laboratory (SAIL). It was composed for the Systems Concepts Digital Synthesizer (also called the Samson Box after its creator, Peter Samson). Software written by myself and others at CCRMA directed the Samson Box to synthesize the composition in real time in quadraphonic sound. The piece won a prize in the 1979 Bourges Electroacoustic Music Awards. 
This composition has itself survived a strange oddyssey.  Soon after Nekyia was finished, the SAIL laboratory and equipment was disbanded, and it was several years until the Samson Box was operational again. Numerous trips to Stanford and the cooperation of several aging and infirm computer systems were required to capture the audio data of Nekyia in digital format before the Synthesizer was ultimately decommissioned once and for all. A stereo reduction of the quadraphonic original was produced from this data for Wergo Records Computer Music Currents #5. Like Odysseus, the data for Nekyia then slumbered for many years on a set of obsolete 9-track magnetic tapes, each the size of a serving platter. 
In the mid 1990’s, Perry Cook and I managed to locate (in the Chemestry Department) the only remaining tape drive on the Stanford campus that could read the Nekyia magenetic tapes. We used the newly invented Internet to transfer the data for Nekyia from that computer to one at CCRMA. Finally, we transferred the data to the newly invented CD-ROM optical media. Once again Nekyia had escaped from oblivion, reincarnated onto yet another transitory digital medium. 
The data slumbered for many years in this format. In 2002, thanks to Marsha Bowman, I discovered the only remaining copy of this master CD-ROM in CCRMA’s basement archives. (A year later this archive at the Knoll building was dispersed to make way for renovations.) A copy of Nekyia is now stored in the so-called Cloud. It has truely been an odyessian journey.

Gareth Loy is the author of Musimathics, a two-volume work published by the MIT Press on the mathematics of music. The photograph shows Gareth Loy in front of the backplane of the Systems Concepts Digital Synthesizer at the Stanford Artificial Intelligence Laboratory in 1979.

Nekyia — Gareth Loy, Wergo 2025 - 2 Stereo Reduction Normalized

Vladimir Korac (b. 1986, Serbia) is a composer of acoustic and electro-acoustic music. 
He graduated from the Department of Composition at the Faculty of Music in Belgrade, in the class of Prof. Srdjan Hofman and completed his Ph.D. studies at the same department in the class of Prof. Zoran Erić.
Works by Korać have been performed across Europe and at festivals such as ISA Prague-Vienna- Budapest, Izlog suvremenog zvuka, Vienna International Saxfest, International Review of Composers, Sarajevo Sonic Studio, World Saxophone Congress, etc.

nothingness (2021)

Vladimir Korac

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