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Onset/Offset (1996) Pete Stollery

My previous tape piece, Altered Images, was concerned with the dual interpretation of the word "image" on both æsthetic and sonic levels, Onset/Offset is concerned, even more than before, with exploiting the interplay between the original "meaning" of sound objects and their spectro-morphological characteristics. Thus, there are many recognisable sounds in this piece which can, and should, be perceived on both levels the sound of a key in a lock is on one level refers to the action of unlocking a door, but on another, is also interesting as a pure sound in itself.

Onset/Offset was realized in the Electroacoustic Music Studios at Northern College, Aberdeen and at The University of Birmingham in April 1996.

Pete Stollery (born Halifax, Yorkshire - 1960) studied electroacoustic composition with Jonty Harrison at Birmingham University, gaining his Ph.D. in 1996. He composes almost exclusively in the electroacoustic medium particularly acousmatic music, where there is an interplay between the original "meaning" of sounds and sounds existing purely as sound, divorced from their physical origins.

His music is performed and broadcast widely and recent performances include Musica Nova '94 Prague, Banff Arts Festival Canada, Spitalfields Festival London, Journées d'Informatique Musicale Paris, ARTWORKS Texas, 2nd Brazilian Computer Music Symposium and the 4th Florida Festival of Electroacoustic Music. He is currently Lecturer in Music and Director of the Electroacoustic Music Studio at Northern College, Aberdeen where he is able to guide school children, student teachers and existing teachers in the creative use of technology in music education. He is also Artistic Director of discoveries, a monthly series of concerts in Aberdeen which aims to bring together electroacoustic works by school children and students to be performed alongside works by established composers from around the world. He has been a director of Sonic Arts Network, the national organisation promoting electroacoutic music in the UK, for the past seven years and is editor of the Journal of Electroacoustic Music. He is also a director of SEMAS (the Scottish Electroacoustic Music Association).

Pete Stollery

Onset/OffsetPete Stollery

Umformung (1994) Igor Lintz Maués

Umformung is a tape composition for four moving sound projections and is an homage to the Italian futurist Luigi Russolo. It is based on four sound environments: "City Streets", "Rain", "Factory" and "Playground". The listener finds himself in a moving dreamscape where "there are no thoughts, no calculations, no judgements" a dreamscape where "there are only transformations" as Freud pointed out in his "Interpretation of Dreams". The piece was composed on a system that supports the generation of musical structures using multi-channel techniques. In canonic form, the composer varies the "leading voice" so that one track returns unmanipulated while the other returns manipulated. Umformung (transformation) was commissioned by the Austrian Ensemble of New Music (ÖENM) for the open air performances with the "Klangmobile" (bicycle loudspeaker orchestra) which took place in Salzburg, July 2-7, 1994. We hear here a version with simulated stereo movement produced at the Institute of Electroacoustic, Experimental and Applied Music in Vienna.

Igor Lintz Maués studied composition, electroacoustic and computer music and musicology in São Paulo, The Hague, Utrecht and Vienna with W. Correa de Oliveira, Gilberto Mendes, Louis Andriessen, Gottfried Michael Koenig and Wilhelm Zobl. He is lecturer at the University of Music and Performing Arts in Vienna and President of the Austrian Society for Electroacoustic Music. He is also artistic director of the concert series "Elektronischer Fruehling" in Vienna. Among the prizes he has received are the Max Brand Prize 1993, nomination for the International Computer Music Association Commission Award 1995 and 1996.

Igor Lintz Maués

UmformungIgor Lintz Maués

Jade (1996) Andreas Weixler

Jade for orchestra on tape was elaborated using recorded material played by the ensemble "Szene Instrumental" from Graz, which includes winds, strings, percussion, piano and voices. The final version was produced at the Electroacoustic Music Studios at the University of Birmingham and edited at the Music Center at the University of East Anglia in Norwich. The premiere took place at the "Kunsthalle Stockerau" on August 8, 1996.

Andreas Weixler studied composition with André Dobrowolski, Younghi Pagh-Pann and Beat Furrer at the University of Music and Performing Arts in Graz. He has been active organizing concerts and producing publications and CDs concerning electroacoustic music, as for example the concert series "electronic access" (documented on CDs) and the publication "Beiträge zur elektronischen Musik". He is a lecturer at the Institute of Electronic Music in Graz and at the Studio for Advanced Music and Media Technology in Linz as well as a member of the board of directors of the Austrian Society for Electroacoustic Music. In 1996 he was awarded the Austrian National Endowment for Composition.

Andreas Weixler

JADEAndreas Weixler

h (1993-5) Ben Thigpen

to nn

h is based on the interaction of two categories of sound events (discontinuous-rhythmic-mechanical, and continuous-quasi-"human"), complicated by the presence of a kind of extreme agitation, woven into each of the two primary categories.

On the affective level, the piece makes no attempt to "express" anything whatsoever. I nonetheless advance the following (arbitrary and misleading) indications:

The woman was shot and Derensky was tied up by the SS, dragged into an oven and burned alive. For the example, we were forced to watch this abominable execution.

Filip Müller
Trois ans dans une chambre à gaz d'Auschwitz

We stumble and crawl through hideous landscapes, nor de we mind where we go because it is all anguish and nothing but anguish.

Vladimir Nabokov
The real Life of Sebastian Knight

h was composed at Les Ateliers UPIC on two computers, running the UPIC system and Pro Tools.

Ben Thigpen

hBen Thigpen

Foil-Counterfoil (1997) Adrian J. Moore

Foil-Counterfoil was completed in the spring of 1997 and follows on fromStudy in Ink by investigating the sonic qualities of a number of interesting sources. Initially, tin foil was recorded with very close microphone positions to reveal hidden sounds. The textures were then analysed against other types of sound source such as glass and balloons, both of which were able to merge not just spectrally but through micro-gesture (carved out of individual textures or shaped by the amplitude of another soundfile). This became the point of the piece Foil and its opponents sometimes working together, sometimes working apart. There is a challenge; a tactical struggle between forces of sound. Hidden meanings permeate the surface; sounds working as "double agents," if you like.

The work was taken through many drafts in order to resolve its final form, one where phrase structure has become the important issue with reoccurrence of material but in different situations (foreground / background) determining the hierarchic structure. Because the sound sources related initially more to "noise" than "pitch," a series of resonant filters were tuned to certain pitches in order to colour some of the foil and balloon sounds thereby merging them more with the glass and bottle sounds. Foil-Counterfoil is an abstract sonic study but its images are intended to invoke representations from real (imaginary) experience.

Adrian Moore (b. 1969) lives in Birmingham and is completing a Ph.D. in electroacoustic music with Jonty Harrison. He regularly works with BEAST (Birmingham ElectroAcoustic Sound Theatre) as a sound diffuser for concerts both in the UK and abroad. He has worked in studios in Birmingham, Lyon, Montréal and Karlsruhe. His main interests are the performance, teaching and dissemination of electroacoustic music and his work aims to show the enjoyment that can be achieved in music-making, whatever the circumstances. In addition to working in the studio, Adrian teaches in the music and drama departments of the University of Birmingham and at the University of Sheffield. He researches the related areas of electroacoustic composition such as analysis and æsthetics, music technology, computing and the internet, and the performance of electroacoustic music. His work for violin and tape (1/violin)tape will be premiered in Budapest in October with the composer on violin.

Adrian Moore

Foil-CounterfoilAdrian Moore

Kiss of the Succubus (1992) Christian Teuscher

As the composer says: "the consciousness is slowly undergoing transformation, calm is spreading, but there is a sudden interruption, and on and on gnome Succubus makes his game of us". Kiss of the Succubus was produced at the composer's private studio in Vienna.

Christain Teuscher has studied piano, composition and electroacoustic music at the City Conservatory and at the University of Music and Performing Arts in Vienna. Since 1987 he is involved with computer music projects (algorithm composition), developing the project GOLEM ARTS (bio-cybernetic based composition). He awarded the Max Brand Prize 1989 and the Austrian National Endowment for Composition in 1991.

Christian Teuscher

Kiss of the SuccubusChristian Teuscher

Les Invisibles (1996) Hans Tutschku

Based upon the poem "Es wird später" by Karl Lubomirski. Originally an 8-track composition.

Les Invisibles is the result of a longer collaboration with four French musicians (Donatienne Michel-Dansac soprano, Catherine Bowie flute, Antoine Ladrette cello, and Jean Geoffroy percussion).

First I composed and recorded 25 short melodies (gestures) and five longer sequences. In addition, the soprano sang four voices of a counterpoint using the text Es wird später. This recording material was then treated in the IRCAM studios to compose a 8-channel-tape for my composition Freibrief für einen Traum (for soprano, flute, cello, percussion and tape). The première under the direction of Pierre-André Valade was recorded as well.

For Les Invisibles the 8-channel-tape and the concert-recording are used to compose a new work without live performance. The compositional structure is entirely based upon the number 5. There are 5 parts, which are further subdivided into 5 subparts. The harmonic material is based on five 5-note chords from which the 25 gestures were also derived.

ES WIRD SPÄTER - Karl Lubomirski

Es wird später
Vögel ziehn nach Norden
wieder ohne mich
Am Wegrand kniet die erste Blume
über grauer Krume
stehn schon Lerchen

Tage tragen ihren Lorbeer
in die leichten Flüsse
Über Tempelstufen sonnenschwerer Meere
schreitet Blütenstaub ins Leere

Es wird später

Born in 1966, Hans Tutschku started musical study an early age, and became a member of the Ensemble für Intuitive Musik Weimar in 1982. In Dresden he studied electroacoustic composition, accompanying the composer Karlheinz Stockhausen on several concert tours to study "sound-direction" with him. At the Royal Conservatory in The Hague he took the international year-long course "Sonologie", working primarily in the field of Digital Signal Processing. There he developed several computer programs for sound transformation related to specific compositional purposes. Hans Tutschku has composed tape pieces, works for live-musicians with tape and/or live electronics, as well as theatre- ballet- and film music. For the composition Die zerschlagene Stimme he received the "Hanns Eisler" prize of the Deutschlandsender Kultur. With Zu Abend mein Herzhe was selected for one year's study at IRCAM/Paris 1994/95 and for Sieben Stufenhe received the second prize of the International Electroacoustic Music Competition of São Paulo 1995 and became Finalist in Bourges 1996.

Since 1995 he is a professor of electroacoustic composition at the Liszt Conservatory at Weimar.

Hans Tutschku

Les InvisiblesHans Tutschku

Curators: Jonty Harrison, Igor Lintz-Maues, Adrian Moore

Web editors: Yves Gigon & Jef Chippewa

Translation: Monique Jean

The Artists:

© Productions electro Productions (*PeP*) 1998

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