Konzerte/Mitschnitte
Juni / Juli 2011
Works by Anthony Pateras
01. Twitch, for amplified quintet / 2003 / 10:55
02. Meshanitsa, for prepared piano, voice & electronics / 2003 / 5:04
03. Automatons, for 10 voices, 3 violas & electronics / 2004 / 10:01
04. Autophagy, for amplified string quintet and prepared piano/electronics / 2007 / 10:34
05. Jwt, for electronics / 2008 / 2:50
06. Immediata, for 6-string electric violin, quadraphonic live electronics and spatialized
orchestra / 2010 / 19:19
Work credits and comments:
01. Twitch for amplified quintet
Natasha Anderson: Contrabass Recorder
Robin Fox: Laptop
Anthony Pateras: Piano, Prepared Piano, Voice, Conductor
Vanessa Tomlinson: Percussion
Erkki Veltheim: Viola, Decrepit Violin
James Wilkinson: Trombone, Conch
Twitch is written specifically fort he five players heard here, composed with their performative idiosyncracies and instrumental modifications well and truly in mind. Comprised of 20 lines each containing ten small gestures, the players perform twice per line solo, ending each by plaing tutti in a brief module together, usually with one ort wo instruments being processed in real time. The 20 lnes are sporadically interrupted by a solo or a processed ensemble interlude. What results is extreme klangfarben concrète.
from CD Mutant Theater, Tzadik 2004
02. Meshanitsa, for prepared piano, voice & electronics
for prepared piano, voice and electronics
Anthony Pateras: prepared piano, voice
Max/Msp programming: Robin Fox
Meshanitsa is a graphic score containing 29 brief episodes with pauses dictated by the lenght of resonance from each gesture. My idea was that I would articulate every single prepared piano attack with a processed vocal sound. I asked Robin Fox to write a patch for prepared piano and voice. He suggested that the piano should dictate the the state of vocal manipulation. The resulting relationship is sensory loop linking my mouth and hands. The piece is further augmented by realtime sampling and manipulation of the prepared piano, the frequency of sampled episodes increases exponentially as the piece proresses, producing a cumulative distortion of the initial sound world.
from CD Mutant Theater, Tzadik 2004
03. Automatons for 10 voices, 3 violas & electronics
voice: Natasha Anderson
electronics, voice: Anthony Pateras
violas: Erkki Veltheim
from CD Chromatophore, Tzadik 2008
04. Autophagy for amplified string quintet and prepared piano/electronics
for amplified string quintet and prepared piano/electronics
Australian Chamber Orchestra with Anthony Pateras
for amplified string quintet and prepared piano/electronics
Max/Msp programming: Robin Fox
from CD Chromatophore, Tzadik 2008
05. Jwt for electronics
Anthony Pateras: doepfer a-100
from CD Chromatophore, Tzadik 2008
06. Immediata
for 6-string electric violin, quadraphonic live electronics and spatialized orchestra
The Orchestra of the Australian National Academy of Music
Conductor: Brett Dean
Solo 6-string Electric Violin: Richard Tognetti
Revox B77: Anthony Pateras
Live Spatialisation: Samuel Dunscombe
Mas/Msp Programming: Casey Rice
"Prime reality” is a Bergsonian phrase I first encountered in one of Jeff Pressing's
(many) useful and inspiring texts on improvisation, Improvisation: Methods and Models (Oxford
University Pres, 1987).
“This prime reality is an ongoing movement, an evolving dynamic flux which proceeds along a
definite but unpredictable course”
The violin part was an attempt to tap this - this idea stuggling with the predicable and
unpredictable. Penned in my sister's country house in Heathcote, I went as far off the grid as I
could for 10 days to write and nothing else. The process was simple, I would quite literally write
down (improvise) what I heard internally, in its most raw and unedited form. I then made a fair
copy, making only very slight modifications to what happened beyond the immediate impulse.
Afterwards, over two months, I generated every single aspect of the orchestral writing from the
electric violin solo part, hoping that these subsequent ensemble structures would somehow be
infused by this initial energy of the improvisational process.
Pressing goes on to say: “In Bergson's view, the intellect can freely interact with the fruits
of intuition (special knowledge and experience) to develop an enriched personal
perspective.”
Bergon's idea that you don't actually know what you're doing, whilst simultaneously knowing
exactly what you're doing, seems to come up a lot in the writing of composers I admire, particulary
Xeankis and Feldman - the main reference points for the orchestration in this piece. Filmmaker
John Cassavetes even spoke about the dangers of knowing, of being professional, because then you
become too guarded - you are not free to create because you are trying to do something else that s
an idea of what you're supposed to be doing, not to do what you are actually interested in doing,
no matter how unloveable that may seem. (Of course, one should probably not do something to
intentionally be unloveable, but that's another conversation.)
With Immediata, I've tried to create a living music, with all of ist imperfections and
temperaments, evolving to the moment of experience for performer, listener and composer.
Hier können Sie Mitschnitte und Live-Übertragungen von Konzerten, Symposien und anderen Veranstaltungen aus dem weiten Themenfeld der elektroakustischen Kunst hören.