hr/eng


next page next page close

Broken Heart Collector

Broken Heart Collector


next page next page close

Elektroakustički preparirani ansambl izvodi Preparirani projekt 2.0+ MIR

Odzvuk Izloga suvremenog zvuka

16.05. Elektroakustički preparirani ansambl izvodi Preparirani projekt 2.0 (Damir Prica Kafka, Tena Novak, Sven Buić, Franjo Glušac, Miro Manojlović, Vedran Peternel, Bruno Vorberger, Roko Crnić, Igor Pavlica, Ivan Marincel) MM centar (60′)

Preparirani projekt

Preparirani projekt

Saksofonist, pijanist i skladatelj Damir Prica Kafka – Capri, dugogodišnji je sudionik zagrebačke eksperimentalno-improvizatorske glazbene scene. Zajedno sa Draganom Pajićem – Pajom osnovao je grupu Cul-de-Sac, koja je početkom ovog stoljeća evoluirala u Orkestar za ubrzanu evoluciju. Saksofonist u grupi Haustor, član Trobecovih krušnih peći, osnivač nizozemsko-hrvatskih bandova Pink Noise Quartet i De Reizende Verkoper, glazbenik u Indoševoj House of extreme music, također i član nedavno osnovanog Franz Kafka Ensemble.

Capri je u Elektroakustičkom prepariranom ansamblu okupio glazbenike na prepariranim žičanim instrumentima, udaraljkama, puhačkim instrumentima i elektronici, koji će izvesti Preparirani projekt 2.0.

Preparirani projekt 1.0, bio je izveden prošle godine u sklopu Izloga suvremenog zvuka.

Glazbena forma je grupna improvizacija bazirana na unaprijed zadanoj fleksibilnoj strukturi, gdje su zvuk instrumenta i ritmički impuls spiritus movens daljnjeg razvoja kompozicije. Glazbu koja sadrži elemente minimalizma, noise-a, free jazza, elektronike, većinom će izvoditi manje grupe od dva do pet glazbenika s povremenim sudjelovanjem svih glazbenika. Nastup će biti popraćen vizualnim intervencijama likovnog umjetnika Nikole Vincelja-Jinksa.

Glazbenici:

Damir Prica Kafka –  preparirani prepiljeni klavir i preparirani neprepiljeni klavir, sax

Tena Novak – preparirana violina, efekti

Sven Buić – preparirani kontrabas

Roko Crnić – preparirani kontrabas

Miro Manojlović – vibrafon, udaraljke, efekti

Bruno Vorberger – preparirani bubnjevi i udaraljke

Franjo Glušac – preparirana električna gitara, efekti

Vedran Peternel – live sampling

Igor Pavlica - truba i efekti

Ivan Marincel – trombon i efekti

MIR

Ima više od deset bendova naziva „Mir“, ali vjerojatno niti jedan od njih nije toliko daleko od svog originalnog značenja riječi koliko je ovaj. Trojac s istančanim ukusom već je bio dobro upoznat s eksperimentalnim formama zvukovnih efekata prije nego su formirali svoj entitet.

Daniel Buess (dr / elektronika), udaraljkaš je i osnivač Ensemble Phoenixa, proslavljenog ansambla za suvremenu glazbu, i bubnjar u kasnoj verziji legendarnih noise pionira 16-17 (EP Mechanophobia). Papiro (g/bg) i Michael Zaugg (orgulje / sintisajzer) na glasu su kao radikalniji drone glazbenici koje možemo čuti. Uskoro im se pridružuje i Marlon McNeill (Combineharvester, Trencher), koji svira bas i dodaje u svemu tome nekakav sofisticirani sloj ludila.

MIR su bubnjar Daniel Beuss, gudač Papiro i Michael Zaugg na sintetizatorima. Vokali nisu potrebni jer, uz konvencionalnu rockopremu, svi glazbenici koriste velik broj različitih elektroničkih instrumenata. Njihovi nastupi su energični i snažni. Da smo još u 80im ili 90ima, MIR bismo mogli smjestiti negdje u avangardni kontekst: japanski Noise, njujorški No Wave, britanski a la Coil, atonalitetni njemački Sound-Brainfuck. Ovo sve možda zvuči jako kompleksno, no zapravo je osvježavajuće jednostavno i „in your face“. Na pozornici, MIR odabiru pojedinačnog slušatelja/icu i hipnotiziraju ga/je metalnim zvučnim lasom, sve dok se publika ne nađe u vrtlogu blažene ekstaze – ili na putu prema izlazu za nuždu. Ono svježe kod MIR-a jest ne-intelektualističko rukovanje intelektualno koncipiranom glazbom.

Njihovi mračni zvukolici sačinjavaju kinematografske vizije u maniri ranoga Andreja Tarkowskog ili Eraserheada Davida Lyncha. Lijepo je vidjeti kako sastav povremeno ponire u punk područje. MIR predstavlja vjerojatno najkompaktniju, najpozitivniju i najglasniju eksperimentalnu rock glazbu kakva se dugo nije čula, u svakome slučaju ne od raspada 16-17. Usput, Alex Buess iz 16-17 (nije ni u kakvoj vezi s Danielom Buessom) snimio je i producirao MIR-ov posljednji, neimenovani album.


next page next page close

&td sounds

09.05. /23.59 h/ &td sounds (Farszky, Imai, Konfic, Marinissen, Morales Murguia) @ &TD atrium (30′)

&TD (sign)

Percussionists: Kaja Farszky, Ryoko Imai, Josip Konfic

Composers: Arnold Marinissen, Hugo Morales Murguia

After a 4-day sounding of the Theatre &TD, on the last festival evening, the ‘&TD’ sign will also sound as a new instrument on the atrium’s rooftop in pieces by Arnold Marinissen and Hugo Morales Murguia performed by percussionists Kaja Farszky, Ryoko Imai and Josip Konfic, whose performance on the rooftop of &TD, supported by our friends and partners from Iskon, will close this year’s Showroom.


next page next page close

Katharina Gross & Arnold Marinissen: The Cello Songbook + cellomondo

08.05./23h/ Katharina Gross & Arnold Marinissen: The Cello Songbook + cellomondo @ &TD semicircular hall(60′)

Horizon K&A

Katharina Gross studied at the Musikhochschule Lübeck with David Geringas, at the Musikhochschule Cologne with Frans Helmerson (Diploma 2003) and at the Royal Northern College of Music in Manchester with Ralph Kirshbaum (Diploma in Professional Performance 2005). She took part in masterclasses with Mstislaw Rostropovich, Martin Lovett, Harvey Shapiro, Karine Georgian and Philippe Muller.
 She is prizewinner of several international competitions. She was soloist with the Philharmonic Orchestra of Kiev, the Philharmonic Orchestra of Klausenburg, the Staatsorchester Kassel, the Symphonic Orchestra of Thüringen and with the Salzburg Chamber Soloists on tour to the USA (Kennedy Center/Washington DC, The Old Cabell Hall/Charlottesville, the American Theatre in Hampton, at “Abendmusik” in Lincoln, the Bethel Performing Arts Series a.o.).

Katharina Gross, foto by Nancy Horowitz

Katharina Gross performed as a soloist and chamber musician at the Muziekgebouw aan ´t IJ, Concertgebouw Amsterdam, Musikverein Vienna, Konzerthaus Vienna, the Kennedy Center in Washington DC, Bodenseefestival, Nafplion Festival, Festivals Limone sul Garda and Caldonazzo, Cello Biënnale and Berio Festival Amsterdam, Europäische Wochen Passau and the Al Bustan Festival amongst others. A CD was released by AULOS/Musikado with works by Schubert, de Falla, Ligeti and Shostakovich. CDs with cello solo repertoire by Ligeti, Kódaly, Cassadó and Harvey were released by concertello records.
 From 2007 until 2009 she was member of the Camerata Busoni in the Netherlands and performed together with the Danish Esbjerg Ensemble. Since 2011 she is member of the Fresco Trio in the Netherlands. Since 2010 she is artistic director of the concert series concertello based in Austria.

Katharina Gross received an international scholarship for leadership in the field of culture 2010/11 from the Federal Ministry for Education, Arts and Culture in Vienna. With Arnold Marinissen she collaborates on The Cello Songbook, a tiny band that creates music for cello, electro acoustics and percussion, multi-layered, poetic and colourful. In 2014 Katharina Gross started the project cellomondo: composers from all around the globe and their students write pieces for cello solo. The first eight compositions of the project were premiered in November 2014 at the Institut für Elektronische Musik und Akustik in Graz.

Katharina Gross & Arnold Marinissen: The Cello Songbook (2013-15)

Katharina Gross, cello and voice

Arnold Marinissen, electroacoustics and percussion

Katharina Gross with her 200 year old Italian cello, and Arnold Marinissen with his electro acoustic setup involving microphones, laptop, keyboard and percussion turn into a tiny band. Together they create The Cello Songbook. The music is multi-layered, poetic and colourful. They started two years ago on an ever growing set of music, which by now exceeds the hour. The Cello Songbook was performed close to fourty times in the last year, and featured in the Cello Biennale Amsterdam, the Dutch Cross-Linx Festival, Architecture Film Festival Rotterdam, Celloherbst am Hellweg in Germany, and in many other places.

Arnold Marinissen

Arnold Marinissen about his work:

“For me, listening to and making music is all about immersing.

Warmth and pulse are words that come to mind when I try to describe my music.

Voice and text are important for me; I like to follow the route that a text lays out for me.”

Arnold Marinissen likes to write for voices. Working with text, the personality and warmth of each individual voice, the intense dealing with sound, breath, diction and intonation make singing for him a field of special interest. He also likes a lot to write for percussion. His background as a percussionist provides him with knowledge and a clear taste and direction in writing for this multi-coloured family of instruments. However, Marinissen also writes for strings, piano, winds and brass. He created works for tape, music for film, theater and several works for dance performances. A direct contact and exchange with performers inspires Marinissen. Therefore, chamber music, works for ensemble and solo works so far are prominent in his oeuvre. Also the collaboration with stage and film directors, choreographers and light designers is something Marinissen considers valuable.

Marinissen composed for a.o. Asko|Schönberg, Nederlands Kamerkoor, Silbersee, Calefax Rietkwintet, Ives Ensemble, Asko Kamerkoor, Prisma Strijktrio, Orgelpark, Club Guy & Roni, for choreographer/dancer Ederson Rodrigues Xavier, and for the Dutch cinema film Bernard. His vocal quintet Von Pferden, Gräsern, Sonnen, Menschen was selected for Toonzetters and was sung by VOCAALLAB in the Holland Festival 2012. Also Exaudi from London has performed this work several times. New work was recently performed by a.o. Slagwerk Den Haag, Silbersee, by the Insomnia Percussion Trio in Taipei/Taiwan, and by the percussion duo Niek KleinJan/Konstantyn Napolov in the NJO Music Summer. In collaboration with the cellist Katharina Gross he creates The Cello Songbook, a set of of music for amplified and looped cello, voice and loudspeakers. Marinissen is also active as a conductor of new music and directed a.o. Ensemble musikFabrik, Asko| Schönberg, Ensemble Zerafin and Lunapark. The record label BVHaast released a series of three solo CDs, which were received to great critical acclaim. For the Muziekgebouw aan ‘t IJ in Amsterdam he programmed the 2012-13 concert season. He is leader of Lunatree. 

Cellomondo

Cellomondo: the excitement of moving through a multitude of sound worlds, of music from all around the globe. To learn the mother tongue of many composers and to tell their stories to the audience. In my project cellomondo, I want to share my fascination with the diversity of musical individuality. My collaboration with the Korean composer Seung-Ah Oh, who wrote her solo piece Persistent Memory for me in 2012-13, was the starting point of my plan to realize new pieces for cello by initially four more composers, and a composition student of each of them. Composition teachers and students with Korean, Uzbek, New Zealand, Greek and Austrian roots create a concert programme for me in which the richness of their individual background as well as the expressive power of the cello are used to their full extent. The cello is an instrument which is said to come close to the human voice. It is in any case an instrument which easily speaks to the audience. It is therefore well suited to articulate and convey the language of many composers. This is the start of a project which boldly envisions to include composers from all countries. If I succeed, 388 new pieces will have been realized… This year, cellomondo is performed in IEM Graz and in Vienna (Austria), in festival Showroom of Contemporary Sound in Zagreb (Croatia), Berlin (Germany), the Gaudeamus Muziekweek in Utrecht (The Netherlands), amongst others.

Artyom Kim: for Katharina (2015)

„What is silence? What is sound? Does silence bear sound? Does sound destroy silence? Does silence always contain an idea of sound? Is there eternal silence? Eternal sound?..

Japanese mendicant monks of the Komuso sect were known for playing bamboo flute Shakuhachi. Playing music for them was a meditation through the blowing and precise breathing control. One of the playing techniques was a very long gradual diminuendo, which was creating an amazing effect of “increasing, enlarging” silence.

The moment, when silence becomes “closer” to us, changes our perception of time and space. It opens doors to other dimensions of reality.

What is silence? Where is silence? When?.. When is sound? Why?..

The piece “for Katharina” was written for Katharina Gross and her unique sound – warm and vibrant.“

(Artyom Kim, March 2015)

www.katharinagross.net

www.arnoldmarinissen.com

www.cellosongbook.net

www. cellomondo.net

 


next page next page close

Gerriet K. Sharma: Composing with plastic sound phenomena in sonic arts

 07.05./ 18h/ Lecture by Gerriet K. Sharma: Composing with plastic sound phenomena in sonic arts – lecture

Gerriet. K. Sharma, foto by Damir Zizic

„When new instruments will allow me to write music as I conceive it, the movement of sound-masses, of shining planes, will be clearly perceived in my work, taking the place of linear counterpoint. When these sound masses collide, the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles… We have actually three dimensions in music: horizontal, vertical, and dynamic swelling or decreasing. I shall add a fourth, sound projection … [the sense] of a journey into space” (Edgar Varèse, 1936)

“Even supposing that all of the scientific and technological difficulties are resolved, it remains unclear as to how we can organise space in its diverse meanings as a musical material.” (Marko Stroppa, 1991)

“One can’t see acoustically what happens in the space until you illuminate it, by putting sounds in it.” (Max Neuhaus, 1994)

Within the lecture Gerriet K. Sharma will give an inside in his research from the last 10 years in the field of spatial sound composition. Different strategies, techniques and performance situations will be discussed as well as the difficulties of describability and reproducibility of plastic sound objects, and the manifold understandings and misunderstandings of space in the sonic arts. Furthermore the artistic research project OSIL (Orchestrating Space by Icosahedral Loudspeaker) funded by the Austrian Research Fund (FWF) will be introduced. The three-year project focuses on the phenomena of plastic sound objects using the ‘icosahedral loudspeaker’ (ICO) as the main compositional tool and performance device. In 2006, the prototype of the ICO was developed at the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz. Originally, the tool was designed as an acoustic measurement device and a playback method to resynthesize Gamelan instruments including the way sound radiates differently into different directions. Sound engineer Franz Zotter and Gerriet K. Sharma have been working on turning the ICO into an instrument and composition tool since 2009. Today the ICO is a sound projection system that is mobile and can be used to create plastic sound objects in various venues. It is suitable to be used in diverse electroacoustic compositions and installations as an instrument to be used in small gallery spaces, in chamber music halls, and even large concert halls.

 www.gksh.net

 

 

 


next page next page close

Austrian Music Export presents CD Austrian Heartbeats #02

09.05. /18h / Austrian Music Export presents CD Austrian Heartbeats #02 @ MM centar (60′)

austrian music export

mica – music austria presents CD Austrian Heartbeats #02 selected by Georg Friedrich Haas: Marco Döttlinger, Peter Jakober, Hannes Kerschbaumer, Manuela Meier

Artist Talk with Hannes Kerschbaumer, performance of Marco Döttlinger’s Sans nuage by Katharina Gross (cello)

Georg Friedrich Haas believes that “just as there is no guarantee of happiness in life, there is no recipe for art.” The creative process itself has many obstacles, but the path to exposing a composition to a wider public can also be quite rocky – and this phase also holds no guarantee of success. Reason enough to launch a CD series featuring contributions by young music creators selected by renowned curators. Guided by microtonal layers, the composer Georg Friedrich Haas has followed his own creative path, and as a lecturer at international universities he guides aspiring representatives of his craft in the pursuit of finding their own artistic language. This compilation, which was hand-picked by Haas, speaks to the variety of individual approaches by these young composers: Marco Döttlinger, Peter Jakober, Hannes Kerschbaumer and Manuela Meier. Although this show of musical force strives to reach a larger audience, it is still no guarantee for an increase in recognition. It is, at best, an incentive to make further projects a reality.

The Austrian Music Information Center mica – music austri is the foremost source of information on contemporary Austrian music of all genres, and provides career guidance and counseling for Austria-based musicians and composers. mica – music austria’s free services include career- and legal advice, workshops, online services such as the music austria Database (db.musicaustria.at), the music austria sheet music shop (shop.musicaustria.at), micatonal, the internet radio station for contemporary music from Austria (db.musicaustria.at/micatonal), as well as the online music magazine – all of which are geared toward promoting Austrian music. In conjunction with the Austrian Music Fund, mica – music austria has also launched Austrian Music Export which carries out international networking and promotion projects. Establishing an international presence and finding the right partners for international promotion, tours, and releases represents a significant challenge for Austrian artists and their economic partners, such as record labels, publishers, and agencies. Meanwhile, focusing only on the domestic market can create insurmountable obstacles to economic survival. Austrian Music Export works closely with the Austrian music industry to overcome these difficulties. A number of focused export activities are designed to strengthen Austria’s position within the international music industry and cement its reputation as a music destination – especially with regard to contemporary repertoire.

www.musicaustria.at

www.musicexport.at

www.mm.mur.at/

www.hanneskerschbaumer.eu

www.peterjakober.com

www.sumtone.com/composer.php?id=20


next page next page close

Ensemble Studio6 & Richard Barrett

09.05./20.30h / Ensemble Studio 6 & Richard Barrett @ &TD big hall (85′)

Ensemble Studio 6

Ensemble Studio6 gathers musicians with great international experience in contemporary, classical and improvised music, based in Belgrade or Novi Sad. It was founded in 2012 when Milana Zarić and Nenad Marković came back to Serbia after a number of years in the Netherlands, Germany and Switzerland, where they were studying and performing contemporary music. Joined by musicians with similar experience, they formed an ensemble that advocates implementation of the current European art music as a part of the national culture and education. Artistic objective of the ensemble is to form a creative impact to the dialogue between the performing and creative in the art practices today. This unusual, modular system is dedicated to the sound space on the border with acoustics and electronics, specifics and case, score and performers’ decision.

The Studio6 Ensemble actively collaborates with authors such as: Richard Barrett, Heiner Goebbels, Agusti Fernandez, as well as many other middle generation authors (Jasna Veličković, Teodora Stepančić, Jürg Frey, Simon Steen-Andresen, Stevan Kovacz Tickmayer, Dave Fennessy and others). Special attention is given to the legacy of the late Ernö Király, a Yugoslav avant-garde composer, whose music is promoted and often performed on the original instruments citraphone and tablaphone. Also, Serbia has them to thank for a number of premieres of pieces by the 20thcentury composers like Kagel, Stockhausen, Cardew, Donatoni, Radulescu.

They will also perform this year at the BEMUS Festival, Composers’ Conference, Ring Ring Festival, Swiss Music Days Festival, as well as at the Serbian Cultural Centre in Paris, with the support of the Ministry of Culture of Serbia.

Participants at the concert: Richard Barrett (electronics), Vladimir Blagojević (accordeon), Svetlana Maraš (electronics), Nenad Marković (trumpet) and Milana Zarić (harp)

Programme:

Hugo Morales Murguia: Torque, for harp and pedal-propelled DC motors (2011)

In Torque the harp is explored as a perpetual string resonator. The vibration of different strings create clouds of overtones constantly changing over time. The harpist regulates the resonance of the instrument and controls the strings by manipulation of the pedals. Torque was commissioned and premiered in June 2011 at NEW Festival in Theater de Regentes (The Hague) by harpist Milana Zarić and was subsequently performed at BEAM, festival of electronic music at Brunel University (London).

Arturas Bumšteinas: Musikaliszer Pinkos, for trumpet and electronics (2013)

This music was inspired by “Musikaliszer Pinkos” – a collection of more than two hundred Hebrew religious hymns and Chassidic songs compiled and published by Abraham Berenstein in the year 1927 in Wilna (nowadays Vilnius). The selection of songs from “Musikaliszer Pinkos” was used by Arturas Bumšteinas as a source of fragmentary pitch material and re-interpreted in a new context of electronic sound and cut-up composition. All music was recorded with the use of Soviet-era Russian synthesizer Polyvox. The premiere of this project was presented as a 6-channel surround sound concert with additional improvisation parts provided by trumpetists Dominykas Vyšniauskas and Kamil Szuszkiewicz. The premiere performance took place in St. Catherine’s concert hall in Vilnius, during a festival Virtual Memorial.

Svetlana Maraš: Codon 24, for harp and live electronics (2014)

Harp is a source of more than 95% of the musical material of the piece. By using diverse range of extended techniques, harp is producing long, sustained tones and opposite to that short percussive and repetitive high-pitched sounds. These being looped according to certain algorithms, create mass of sound that is gradually transforming in color and texture. Sound sections span from massive low-frequency drones to intense high-pitched tones, glitches and noise.

Richard Barett

Richard Barrett: pauk, for trumpet and accordeon (2014)

Richard Barrett: tendril, for harp and electronics (2013)

Richard Barrett: Codex XII, for ensemble (2013)

tendril, pauk and codex XII are three of the six parts of a 66-minutes composition entitled close-up which I have been working on together with Ensemble Studio6 since 2013 and which will receive its first complete performance in 2016. One of its principal features is a concern with music which reflects natural processes of growth, movement and decay: the shapes taken by tendrils, spiderwebs and many other phenomena from the microscopic to the ecological and from the momentary to the evolutionary. A characteristic feature of such processes is that they are driven by internal organising principles (like the DNA code) which are nevertheless highly flexible in their responses to different conditions, environments and other influences.

Accordingly, these compositions explore different ways in which precomposed musical elements are combined and confronted with spontaneous improvisation. In tendril for harp and electronics, the two performers have precisely-composed materials (notated and prerecorded respectively) which they may interrupt independently with improvisations which are influenced by the precomposed music without in any way being determined by it. Pauk for trumpet and accordeon explores a situation where the points at which improvisation takes place are specified by the score, although again the score contains no instructions on how the players might respond improvisationally. Codex XII may be played by almost any combination of five or more players. Here the score is reduced to a “skeleton” where players might at any time choose to follow one or more pathways consisting of pitches, textural indications, points of coordination and solo/accompaniment relationships, while almost always including the possibility to improvise freely and ignore the notations.

These different approaches to the relationship between notation and performances are, on the other hand, not intended to necessarily be heard as such, but to embody audible musical responses to the aforementioned natural phenomena, and to produce musical results in terms of structure and expression which couldn’t be achieved in any other way.

www.studio6.st

www.youtube.com/user/KolektivStudio6

www.hugomorales.org

www.refusenik.org

www.svetlanamaras.com

richardbarrettmusic.com


next page next page close

Marko Ciciliani

07.05. / 22h/ Marko Ciciliani | Audiovisual Works@ MM centre (65′)

Marko Ciciliani

Barbara Lüneburg – electric violin, tablet

Marko Ciciliani – electronics, visuals, tablet

Marko Ciciliani (*1970, Croatia) is a composer, audiovisual artist and researcher based in Austria. The focus of Ciciliani’s work lies in the combination of instruments and electronics, often in audiovisual contexts. Light- or laserdesigns are often integral parts of his compositions. More recently he has focussed on the inclusion of live-video in his compositions, by making the manipulation of images part of an extended instrumental design. The artistic combination of sound and visual was also the topic of his PhD research that he completed at Brunel University London in 2010. It is characteristic of Ciciliani’s compositions that sound is not only understood as abstract material but as a culturally shaped idiom. The exploration of a sound’s communicative potential is as much in the foreground of his work as its objective sonic quality. Ciciliani’s work is characterized by a conceptual approach in which aspects of classical composition, sound- and media-studies play tightly together. The different “genres” in which Ciciliani’s music can be heard and seen, are reflecting his manifold artistic activities. His music has been performed in more than 30 countries in Europe, Asia, Oceania and the Americas. It has been programmed by festivals and concert series of electronic experimental music like Experimental Intermedia/NYC, Club Transmediale/Berlin, SuperDeluxe/Tokyo or the NowNow Series/Sydney; just as much as by festivals for instrumental music as Maerzmusik/Berlin, Wien Modern, Huddersfield Contemporary Music Festival, ISCM World Music Days and many more.

In 2005 Ciciliani founded the group Bakin Zub, an ensemble comprising distinguished musicians with a focus on the use of technology. In the work for Bakin Zub Ciciliani places an emphasis on the combination of instrumental writing, live-electronics and light, laser or video designs. Since the foundation of the group, he has composed four program-length works for this combination, the most recent ones being “Heterotopolis” which was co-produced by the ZKM and premiered as part of the ARD Hörspieltage 2012, and “Suicidal Self Portraits”, premiered in April 2014 at the „Forum Neue Musik Deutschlandfunk“ in Cologne. In 2009 Marko Ciciliani was recipient of the prestigious Villa Aurora Stipend, a three-month artists residency in Los Angeles. Also in 2009 he was composer-in-residence of the 14th Composers Forum in Mittersill/Austria. He received numerous project-residencies at STEIM, ESS, ICST and ZKM.

Ciciliani is full Professor for Computer-Music Composition and Sound Design at the Institute for Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz. In 2014 Ciciliani has taught at the “Summer Courses for Contemporary Music Darmstadt” where he also presented a portrait concert. He also often appears as a presenter on international conferences on computer music and media art, such as ICMC, SMC, ICLI, Sonorities and others.

Formula minus One photo by Christina Hansen

Program:

Marko Ciciliani: Via, for live electronics, live video and lighting (2015)

Via (2015) is based on film materials of roads and viaducts which have been taken with hand-held devices in Wellington/NZ and across California/USA. The work applies a very tight connection between sounds and visuals. Almost everything that can be seen can also be heard – an approach that is in film theory referred to as Mickey Mousing. Nevertheless, while the synchronous doubling of media is most of the time applied in order to generate congruencies and amplifications of effects, I was specifically interested in exploring couplings between the media that yield unexpected, yet coherent results. Even though the visual material is often processed beyond recognition, the floating character of the filmed roads and passing cars determines the basic character of the work.

Marko Ciciliani & Yannis Kyriakides: 8’66”, for two tablets and video projection          (2012)

8′66″ (2012) is a collaborative work created with Yannis Kyriakides for the occasion of Slagwerk Den Haag’s ‘Double Music’ project. Inspired by the John Cage/Lou Harrison work of the same name, composers were asked to compose a piece with one of their closest colleagues. As the title suggest this work has a certain relation to Cage’s seminal work 4’33”. Silence, or non-performance plays a function in this piece, which also refers closely to another work of Cage: One11 a feature length film consisting of filmed light cones, which is the main source of the visual material, resampled and processed with feedback loops. A quote of Cage is used: “Rhythm is everything that is irrelevant”.  It both clarifies Cage’s aesthetic position, but also displays the difficulty of using words to describe music, the confusion of definitions. This quote is de- and reconstructed visually as a text-film overlaid onto the light film, and occasionally re-enforced with low sine tones. The original version of this piece was for six players with tablets and video projection. You will hear and see a compacted rendition for two performers.

Marko Ciciliani: Formula minus One, for electric violin, sensors, live-electronics and live video (2014)

Formula minus One (2014) takes the motor sport Formula One as a point of departure, which is seen as a symbol for masculinity through its combination of force and speed. While all official F1 drivers are male, it is remarkable that – unlike in many other sports – Formula One does not have separate categories according to the sex of the participants. In theory, men and women could compete against each other in the same Grand Prix. While there have been various female test drivers (currently e.g. Susie Wolff for Team Williams) none has made it to a Grand Prix. Formula minus One combines video-excerpts from Formula One races that are manipulated in real time in combination with live electronics. The objective is to aestheticize and de-masculinize this particular sport discipline. The generated video is the main part of the score for the player, who constantly has to react to it, and steer the events similar like in computer games.

Marko Ciciliani: Intersection, for live electronics, live video and lighting (2013)

Intersection (2013) is a work for live-electronics, live-video and lighting. The visual material consists of two video recordings of an intersection in the centre of Zürich that were recorded in the Summer of 2012. Both recordings have been taken from exactly the same position, one during daytime, the other during nighttime. This lively intersection shows people in transit; as pedestrians, on bicycles, in cars or public transportation. In the piece Intersection rapid changes between these two recordings and their color-inverted versions create an illusory impression of the otherwise static image. In a second section, two zoomed-in images from the same footage focus on groups of persons. Here, the visuals are expanded by the additional use of light fixtures, thereby expanding the visual field into the space. Because of the perspective of the camera in the recordings (so-called “military-perspective”), issues of surveillance of public spaces are evoked. This atmosphere is intensified by the use of a chopped up transmission of police radio that has been used as part of the sonic material.

Marko Ciciliani: Alias, for electric violin, live electronics, lighting and laser (20′, 2007/10)

Alias (2007/10) derived several methods from film-technologies. I was particularly interested in the fact that film is based on a fast succession of images, that we see as a continuous motion. Hence, stroboscopic effects (the fast succession of visual information which the brain still recognizes as single images) is very closely related to the film technique. But unlike film, it is perceived as very stressful information. It is a thin threshold of speed difference that separates the strenuous sensation of stroboscopic visuals, from the smooth and continuous reception of motion pictures. However, while we perceive film as a continuous motion, the rattling sound of an analog projector still reveals the mechanisms at work. In Alias, I was interested to transfer various technical principles from film into music. Fast gatings and tremolos are for example applied to the violin signal, emulating acoustically the effect of stroboscopes and visual artefacts as the moiré pattern. Recordings of film-projectors are furthermore used as closely related sonic materials. Furthermore, I used sound excerpts from Japanese Mangas as sound material. This gives the film an acoustic presence, despite its visual absence. In the piece its visual quality is substituted by a composition of lighting and geometric laser projections.

 www.ciciliani.com

vimeo.com/channels/cicichannel

www.barbara-lueneburg.com


next page

Broken Heart Collector

...
article post

Elektroakustički preparirani ansambl izvodi Preparirani projekt 2.0+ MIR

Odzvuk Izloga suvremenog zvuka 16.05. Elektroakustički preparirani ansambl izvodi...
article post

&td sounds

09.05. /23.59 h/ &td sounds (Farszky, Imai, Konfic, Marinissen, Morales Murguia) @...
article post

Katharina Gross & Arnold Marinissen: The Cello Songbook + cellomondo

08.05./23h/ Katharina Gross & Arnold Marinissen: The Cello Songbook + cellomondo @...
article post

Gerriet K. Sharma: Composing with plastic sound phenomena in sonic arts

 07.05./ 18h/ Lecture by Gerriet K. Sharma: Composing with plastic sound phenomena in...
article post

Austrian Music Export presents CD Austrian Heartbeats #02

09.05. /18h / Austrian Music Export presents CD Austrian Heartbeats #02 @ MM centar...
article post

Ensemble Studio6 & Richard Barrett

09.05./20.30h / Ensemble Studio 6 & Richard Barrett @ &TD big hall (85′)...
article post

Marko Ciciliani

07.05. / 22h/ Marko Ciciliani | Audiovisual Works@ MM centre (65′) Barbara Lüneburg –...
article post