Konzerte/Mitschnitte
Woche 07-12 / 11.02. - 23.03.08
featuring the CD
MISO ENSEMBLE VOL. IV: eletricity+
and the prize winners of the
8th Electroacoustic Composition Competition Música Viva 2007
MISO ENSEMBLE VOL. IV: eletricity+
01. Paula Azguime & Miguel Azguime / SCRITURAS for flauta/flute, percussão/percussion, live-electronics / 2002 / 14:57
02. Miguel Azguime / DE L’ÉTANT QUI LE NIE for piano, live-electronics
composição / 1998 / 16:47
03. Paula Azguime & Miguel Azguime / NÓNIO for flauta/flute, live electronics / 1998/2002 /17:02
04. Miguel Azguime
/ DU NÉANT QUI LE CROIT for fagote/bassoon, live electronics
/ 1994 / 14:27
8th Electroacoustic Composition Competition Música Viva 2007 Prize Winners
05. Pei-Yu Shi / Fall, aus der Zeit... for two Channels / 2006
06. Arturo Fuentes / Fosil KV
for 4 channels (stereo version) / 2006
Mentions
07. Nicolas Bernier / Liaisons Mécaniques / acousmatic piece / 2007
08. Georges Forget / Orages d'aciers / 2007
Best Portuguese Piece
09. Fernando Mota / Manchetes
MISO ENSEMBLE is essentially a duo of flute and percussion with electronics in real time. In 1985, MISO ENSEMBLE was founded by the percussionist and composer Miguel Azguime and by the flute player and composer Paula Azguime. Distinguished for their program's originality and the diversity of their musical work, the latter reflects an approach that relies on the multifaceted capabilities of its members (composers, instrumentalists and improvisers), this duo has built for itself a unique path.
In this way, MISO ENSEMBLE has re-affirmed since its creation a new way of doing and thinking music; where composition and improvisation are tools used to create different kinds of works; where the use of electronic in real time complements and extends upon the acoustic instruments. This has given place to pioneering work of investigation and creation in the field of electronic music. Paula and Miguel Azguime are award wining interpreters and composers. Several public and private institutions, national and international, have commissioned them works, both for MISO ENSEMBLE and for other formations. Beyond their activities as musicians, they have developed since 1992 intense work promoting contemporary music and Portuguese composers, both as directors of the International Festival Música Viva and, more recently, as founders of the Online Information Centre of Portuguese Contemporary Music.
Apart from their contribution enlarging the repertoire for flute and percussion, the collective works of Paula and Miguel Azguime also include compositions for the cinema, theatre and dance as well as sound installations for architecture, sculpture and painting exhibitions. In parallel, Miguel Azguime develops a prolific activity as a composer in a more classic sense, composing for various instrumental and/or vocal formations.
Over 18 years MISO ENSEMBLE has done intense work in Portugal and abroad, more than 400 concerts, performing regularly in several different countries of Europe and Asia.
Nowadays, MISO ENSEMBLE is widely recognised, by critics and public alike, as one of the most important ensembles in Portuguese contemporary music and openly considered the most original, the most creative and a compulsive innovator.
www.misoensemble.com
Paula Azguime - flute
Miguel Azguime - percussion
Alain Neveux - piano
Robert Glassburner - bassoon
8th Electroacoustic Composition Competition Música Viva 2007
This competition is sponsored by the Ministry of Culture/Instituto das Artes, Portugal.
The prize winners works will be released in a MISO RECORDS CD the following year.
Jury members were Francis Dhomont, Sabine Schäfer, Joachim Krebs & Miguel Azguime.
Pei-Yu Shi / Fall, aus der Zeit...
Eine Freundin von mir wollte ein Tanzprojekt über Ingeborg Bachmann realisieren und schickte mir von ihr Gedichte und Texte zur Vertonung. Mein Ziel war, mich in die Innenwelt der Dichterin zu vertiefen. Ich fragte mich nach ihren Stimmungen, als sie die Gedichte geschrieben hatte. Dann begann ich, die Atmosphäre zu komponieren, die ich beim Lesen des Gedichtes „Fall ab, Herz" empfunden habe.
Fall ab, Herz vom Baum der Zeit,
fallt, ihr Blätter, aus den erkalteten Ästen,
die einst die Sonne umarmt',
fallt, wie Tränen fallen aus dem geweiteten Aug!
Fliegt noch die Locke taglang im Wind
um des Landgotts gebräunte Stirn,
unter dem Hemd preßt die Faust
schon die klaffende Wunde.
Drum sei hart, wenn der zarte Rücken der Wolken
sich dir einmal noch beugt,
nimm es für nichts, wenn der Hymettos die Waben
noch einmal dir füllt.
Denn wenig gilt dem Landmann ein Halm in der Dürre,
wenig ein Sommer vor unserem großen Geschlecht.
Und was bezeugt schon dein Herz?
Zwischen gestern und morgen schwingt es,
lautlos und fremd,
und was es schlägt,
ist schon sein Fall aus der Zeit.
Pei-Yu Shi (1973, Taipei, Taiwan) studierte zunächst chinesischen Instrumente (Bachelor degree 1995), dann Komposition (Master degree 1998) in Taipei. Von 1999-2004 setzte sie ihre Studien bei Wolfgang Rihm, Sandeep Bhagwati und Thomas A. Troge in Karlsruhe (Deutschland) fort. Sie komponiert sowohl für westliche auch für chinesische Instrumente, für instrumentale als auch für technisch geprägte oder produzierte Klänge (vom Computerflügel bis zur Elektroakustischen Musik). In vielen Kompositionen greift sie Anregungen aus chinesischer Poesie und/oder Malerei auf - in einer Musik behutsam sich auf- und abbauender, gleichsam ein- und ausatmender Klangprozesse mit vielfältigen Beschleunigungen und Verlangsamungen, Klangbewegungen und Klangverfärbungen, Verdichtungen und Reduktionen, Spreizungen und Stauchungen im Tonraum, Einbettungen von Klängen in Stille. Ihre Werke wurden auf zahlreichen internationalen Festivals aufgeführt und gewannen mehrere Preise und Stipendien. Sie war von 2004 bis Anfang 2007 als Gastkünstlerin in ZKM, Karlsruhe. Vor kurzem hat sie gewann sie den internationalen Wettbewerb für elektroakustische Musik, Música Viva (Portugal) sowie in Berlin den Rheinsberger-Kompositionspreis.
Arturo Fuentes / Fosil KV
Through brief and swift percussive sounds, this music aims to portray a dense and articulated sense of movement in layers of muötiple motion. The piece was commissioned by "musik+/Studienzentrum für neue Musik" (Austria, 2006) to commemorate Mozart's 250th anniversary; an organ keyboard presumably played by Mozart in 1772 was used to produce some of the sounds it was composed with.
Arturo Fuentes (Mexico 1975) moved to Europe in 1997, were he lives as a composer of both electroacoustic as well as instrumental music. He received his Doctorate in Composition and Computer Music as well as a Master's degree in Philosophy from the University of Paris 8, were he had studied under Horacio Vaggione and Antonia Soulez respectively from 2000 to 2007. In 2003 he was selected for the IRCAM course for Composition and Computer Music. Before that, he had studied in Italy with Franco Donati (1997 - 99) and in Mexico with Juan Trigos as well as at the CIEM. His music conveys a fragmented articulation and a timbric density. His theoretical research stresses the implication of computer into the compositional process. For more information on publications and awards, please visit:
www.arturofuentes.com
Nicolas Bernier / Liaisons Mécaniques
Krrrchstachack.
The event is triggered by a profound attachment to physical matter and nostalgia of an era I did not live through: the era of machines, real ones, set in motion by physical mechanisms.
I proceeded to gather pieces of machines and gears. My collection held reminiscent objects: cameras, 8mm projectors, music boxes and antique toys. I discovered naturally rich materials made of different granular textures and an abundance of micro-articulations. The gears are expressive and precise; they engage a defined process.
I sampled the small objects before deconstructing them, splitting them, dividing them up. From these fragments, I constructed new gears. I wanted to maintain, as much as possible, the essence of the physical characteristics of the sounds. The only thing left to do was to activate the musical mechanics. In this context, the gears are release mechanisms. They engage a change in space, a material transformation, a stop, a change of direction or simply another mechanism. They play a double role: sound material and transition between events, just as the ties and slurs of musical writing.
The structure of
Liaisons Mécaniques is inspired by the circular and repetetive movements af the gears. The arc form presents the same elements at the beginnig and the end, which brings to light the antithesis evoked by the work: stability and reccurence
Liaisons Mécaniques is commissioned by Musiques & Recherches (Belgium) and was created with the financial support of the Counseil des Arts et des Lettres du Québec and the Agence Québec-Wallonie-Bruxelles.
Nicolas Bernier has been initiated to musical creation through popular music. His curiosity quickly brought him to electroacoustic composition, which he studied at the University of Montreal in the classes of Robert Normandeau and Jean Piché. His love for experimentation inspired him to develop acousmatic composition, live electronics, installation and video art as well as music for dance and cinema. In the midst of this eclecticism, however, his artistic concerns remain constant: the balance between the cerebral and the sensual aand between organic sound sources and digital processing. An inspired artist, he founded the duet Milliseconde topography in 2004 together with the composer Delphine Measroch. In 2006, he also founede the artist collective Ekumen. He has won many awards for his works that have been performed at many festivals such as L'espace du son (Belgium), DotMov Festival (Japan) and Transmediale (Germany).
Georges Forget / Orages d'aciers
Orages d'aciers (Storm of steel) is about war, distress and brotherhood. It is mainly inspired by Ernst Jünger's book Storm of Steel, his WWI memories and by The thin red Line, a greta Terrence Malick movie taking place during the battle of Guadalcanal in 1942. The greatest challenge for me was to achieve this musically and without any sounds refeering directly to weapons or explosions. This piece is dedicated to my father.
Georges Forget is a French composer born in 1978. He studied music at the Conservatoire de Musique in Bordeux with Christian Eloy, graduating with Honours. He received his masters degree in electroacoustic composition from the University of Montreal, where he studied with Robert Normandeau. Currently, he is a PhD student at the same university in composition with the composer Isabelle Panneton as well as the multi media artist Jean Piché.
As a composer of both electroacoustic and instrumental music, he tries to combine his love for baroque music with his passionate sounds research in an expressionist musical expression where aesthetic quest and rough material may easily go with each other. HE also builds applications and devices thaat kead to real "mixed" compositions, where machines and musicians can communicaate in a more musical and subtile way. his works have been performed in Europe and Canada. Georges Forget is a recipient of a Fonds québecois de la recherche sur la société et la culture (FQRSC) bursary.
Fernando Mota / Manchetes
Manchetes was created in 2007 for a theatre play by the Portuguese company Theatre of the Oppressed. It uses solely sounds of industries and machines edited and assembled using Steinberg Cubase software. The editing used time, dynamics and pitch related effects/actions. No other sounds were added.
Fernando Mota
Born in Lisbon, 1973.
Composes music for the theatre since 1994, having worked with several companies and theatre directors. In 2007, Fernando Mota received a Mention of Honour (National Theatre Critics’ Prize 2006, an award granted by the Portuguese Association of Theatre Critics - Associação Portuguesa de Críticos de Teatro) for the original music and sound space of the play “Por Detrás dos Montes” staged by Teatro Meridional. F.M. was named for the Europe Prize New Theatrical Realities XI, granted by the European Commission with the high patronage of the European Parliament. Also in 2007 he received the Prize for Best Portuguese Composition at the 8th Electroacoustic Composition Competition Música Viva 2007.
“Saudade: Terres d’eau” da Cie. Dos à Deux, with F.M.’s original soundtrack, received the Public’s Award at the Avignon Festival 2005 (ADAMI) and “Para Além do Tejo” staged by Teatro Meridional, for which he composed and played the original music live, received the National Theatre Critic’s Award 2004 ( Portuguese Association of Theatre Critics - Associação Portuguesa de Críticos de Teatro).
As a multi-instrumentalist, Fernando Mota has explored Portuguese traditional instruments and those of other cultures. He has built experimental musical instruments and worked with sound manipulation through electro-acoustics and computers. His projects have a multidisciplinary approach and he works in collaboration with artists from various fields that include music, the theatre, cinema animation, video, dance and the visual arts.
Has maintained a regular itinerant activity, participating in performance art festivals in Portugal, Germany, France, Italy, Spain, Brazil, Iran and Cape Verde.
www.fernandomota.com.sapo.pt
Hier können Sie Mitschnitte und Live-Übertragungen von Konzerten, Symposien und anderen Veranstaltungen aus dem weiten Themenfeld der elektroakustischen Kunst hören.