Elektroakustische Musik aus Dänemark (2010)

Programm Sonntag, 9. Mai, 21 Uhr Glockenhaus

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Pioneers & Entdeckung

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Kurator :

Hans Peter Stubbe Teglbjærg (im Auftrag der Vereins dänische Komponisten)

Image & Ambiance (1972)

Born in 1924 in Copenhagen, Knud Viktor is a pioneer of soundart. He is one of the first with an interest in soundscapes, not as a material to be reworked (as in Musique Concrète) but as a space open to experiments with microphones. He is equally a photographer and a filmmaker passing a large part of his life to capture the sound of animals and the erosion of the rocks of Regalon (france) where he lives since 50 years.

Originally a painter, upon arriving in Provence (france) he was captured by the intense ligth and sound and its direct effect on animals, like for ex. the cikades that sing higher the more light there is. "In this light sounds are hiding, because silence does not exist". His work points in two directions : the listening over long terms of sonic landscapes and the knowledge of the secrets of animal life, represented respectively in excerps from the works "Image I" and "Ambiance I" (both from 1972).

His work is based on a form of hyper-audition, as he explains :
"I don't pretend to make music, even if what I hear in nature is produced by forces that seek harmony. I see what I do as a continuation of the painting ... surveying sounds that organises sonic intensities most unattendedly, contrastingly, modulated and dissonant. I try to obtain an enhanced sensation via sounds, the air, the light, the wind, the rain, the rocks, the vegetation, the smells of Lubéron".

Since 1964 Knud Viktor has worked on a series of pieces called "Image Sonore" in which Image X was exhibited at the Réattu Museum (Provence) in 2009.

Link
http://phonurgianova.blog.lemonde.fr/2009/09/15/le-monde-sonore-de-knud-viktor/
http://dvm.nu/hierarchy/periodical/dmt/1993-1994/03/?show=data/periodical/dmt/1993-1994/3/periodical-dmt1993-1994_3_04.tkl&type=periodical

Abstrakt (2005)

The acousmatic piece ‘abstrakt’ was the first in a series of electronic pieces working with the idea of an everchanging sonic landscape. The sound material in the piece is carefully created
through different types of filtering and physical modelling yet often it seems to have an organic quality resembling a sound-recording. This approach produces an apparent tension between the familiar and the unrecognisable. A certain dream-like logic seems to be involved, like a memory that is only partially accessible.The structure of the piece explores a dynamics of suspense and relaxation. Ambient backdrops are contrasted by dense dynamical movements and evokes metaphors such as streams and turbulence.

Rune Søchting is an artist and composer of electronic music based in Copenhagen, Denmark. He works in the intersection of sound based art, music composition and performance. He has made numerous installations, field recording projects as well as composed music for videos and live music for performances and dance-performances that have been shown around Europe. His work has been presented in exhibitions, concerts and festivals in Europe, South-America and Asia.

Link
www.vaesen.dk

Beta (1962-63)
Beta is music to be played loud and listened to with the whole body. Beta's sound universe, with its restless intensity of its pent-up energy, speaks its own clear langauge to a younger generation of linsteners and musicians who can hear references to psychedelic rock, heavy metal, house and hardcore techno because of the energetic, distorted, pulsating and insistently repetetive noise-drones over which a number of completely unpredictable sound scenarios are played out. The work evokes associations with the experimental rock guitarist's noisy inferno of soundscapes.

Jørgen Plaetner is best known as one of the pioneers of electronic music in Scandinavia. Born in Copenhagen in 1930, Plaetner played piano as a child and entered the Royal Danish Academy of music at the age of 19, where he studied with Vagn Holmboe, Niels Viggo Bentzon, and Bjørn Hjelmborg. Early on, he became aware of the experimentation going on abroad in the field of electronic music, and at 20 he became one of the first Danes to participate in courses for contemporary music at Darmstadt. He studied theory and acoustics with the composer Hermann Heiss. He attended the first performances of Stockhausen’s Gesang der Jünglinge and Kontakte, which inspired him to set up his own electronic music studio. In addition, Plaetner was a music teacher and taught at the State School for the Blind for almost a decade before taking a position in the town of Holstebro as the country’s first “town composer.” While serving in Holstebro, he set up a council music school for children and wrote music for local ensembles. Unfortunately, a rift with the city council in 1977 precipitated his move to Sweden, where he lived for the rest of his life. When Plaetner died in 2002, his electronic music was almost entirely forgotten in Denmark until Dacapo released a CD with a selection of his electronic works from the 1960s and 1970s. His electronic works have largely overshadowed his acoustic music, which includes music for chamber ensembles, vocal and theater music, and eight piano sonatas.

Link
http://www.dacapo-records.dk/recording-electronic-music.aspx
http://dvm.nu/hierarchy/periodical/dmt/2001-2002/07/?show=data/periodical/dmt/2001-2002/7/periodical-dmt2001-2002_7_07.tkl&type=periodical

Opus1, nr.1 (2006)

During 1998-2006, Jakob’s electronica project was named 'txture'. Here he tried to gain a thick tightly interwoven sound-wall of texture, without using normal instruments. This was achieved by working with many layers of processed and fragmented noise sounds from all sorts of different acoustic and electronic sources.

Jakob Weigand Goetz (b. 1972) is training manager in sound design at University College, Southern Denmark (Medie- & sonokommunikation). Composing is for Goetz, on the one hand, a necessity of life, while employment is kept at a hobby level to not to kill him!

Link
www.txture.net

Glasperlespil (1960)

This electronic work originally consists of two parts. The first inspired by Herman Hesse's novel "Das Glasperlenspiel", in which a fascination of and striving towards "the perfect beauty" via the arranging of complex systems in a mosiac play of the game, turns out to have fatal consequences. The second part is more abstractly based on Pade's own fascinatin be the strictly systematically constructed game that she herself played with as a child.

Glasperlerspil is based on serial principles, in which twelve successions of twelve notes, each with a different sonority, are presented "like marbles in a glass bead game, line after line, until the glass plate is full." At a turning point the successions are removed one after another, in a mirroring of the whole musical sequence.

Pades sees an analogy of the glass bead game to electronic music based on laws of mathematics and physics, the formulars of serialism, rules of groupings (density and durations) and the danse (moving in the space).

Else Marie Pade, educated as composer, is one of the pioneers of electronic music in Denmark and Scandinavia. From the beginning of the 1950's, she, in close cooperation with technicians and assistants on the Danish Radio, produced a substantial amount of concrete and electronic music, partly in the shape of independant works for radio broadcasts, partly in the shape of accompaniments to various radio dramas. For almost 40 years, the music only existed on tapes in the archives of the Danish Radio. A CD appeared in 2001 documenting for the first her electronic works.

She knew and worked with Pierre Schaeffer, Karl-Heinz Stockhausen, Henri Pousseur and Bengt Hambræus. Pade has lately been met with a renewed interest, especially in Electronica circles as a general need to (re)discover their electronic roots.

Link
http://da.wikipedia.org/wiki/Else_Marie_Pade
http://www.dacapo-records.dk/recording-glasperlespil.aspx

Ring road A141 (2006)
Video and electroacoustic sounds

Music, Martin Stig Andersen
Dancer, Alexandra Göransson
Light design/concept, Jacob Ballinger
Produced by Jacob Ballinger, Martin Stig Andersen, and Juliane Beer

Martin Stig Andersen (b. 1973) creates acousmatic music, sound installations and electroacoustic performances, and collaborates with a number of distinguished musicians, performance and video artists. In recent years he ventured into the world of film sound and game audio, blurring the traditional dividing line between music and sound design. As a composer Martin Stig Andersen has received commissions from various ensembles and organizations and his music has been performed in numerous international festivals. He has obtained distinctions in the ElektraMusic Award - listener's prize (France), Prix Ton Bruynél (the Netherlands), the "Luigi Russolo" Competition (Italy), and the Danish Arts Foundation's Competition. While having undertaken numerous commissions, Martin Stig Andersen increasingly seeks to challenge cultural boundaries by conceptualizing, initializing and producing his own artistic projects. Most recently he has realized the large scale project Rabbit at the Airport collaborating with Robin Rimbaud (aka Scanner), clarinetist Gareth Davis, and visual designer Jacob Ballinger. Martin Stig Andersen graduated from The Royal Academy of Music in Aarhus in 2003 where he studied composition with Karl Aage Rasmussen and Bent Sørensen. He is currently pursuing a PhD in electroacoustic composition at City University, London, studying with Denis Smalley.

Link
www.ringroada141.com
www.martinstigandersen.dk

Koba Qunar (2006)

"Synthesis isn't dead - it just sounds that way!" (Luke Dubois)

Synthesisbased soundart form a narrow yet important path in electro-acoustic music, in particular certain recent developments in modal physical modeling synthesis which has
enabled the formulation of this composition.

To introduce the idea: In most musical instruments intercoupling of elements (e.g. reed, mouthpiece, tube) remain for good reasons fixed. Slow and gradual coupling and decoupling
while playing leads to instable situations, however interesting musically or acoustically, they remain difficult to control if not by soundsynthesis.

To go closer: directly investigating the interaction between excitator and resonator (e.g. hard and soft couplings, linear and non-liner coupling functions) soundfamilies can be formed as a function of the interaction itself. Organized as going from simple to composite relations, unifying a puristic and complex soundworld in a range from recognizable models to improbable behaviors. Because extended instrumental idioms - like e.g. multiphonics - essentially remain idiomatic, synthesis of simulated models in comparison is attractive due to its openness and high degree of controllability.
To observe: Non-linear couplings led to the gradual splitting of spectra (as in bifurcative chaotic behavior) with an attractive subharmonic and noisy soundquality. The distorted timbres are intrinsically born from within the models and in no way due to post-production treatments - a difference clearly audible. Such situations are deliberately attempts to push the models to the point of "break down".

It's tempting to ascribe the work to one of the ruling esthetics of soundart: Imposing music on sounds - or - abstracting sounds from music. However, the project behind this work, biased on a qualified and genuine work with coupling and distortion components and its high regards to the potential of physical modeling soundsynthesis, makes it stand apart as an opening towards a different esthetic realm. In this respect I'd sincerely like to thank IRCAM and the staff of the acoustical department with whom a close collaboration was carried out during 2005-06 in order to develop specialized synthesistools matching the compositional aim herein described.

Hans Peter Stubbe Teglbjærg (b. 1963) is educated in instrumental and electronic composition by Ib Nørholm and Ivar Frounberg (Royal Danish Academy of Music Copenhagen), privately by J.W. Morthenson (Stockholm), as well as in computer-composition at the "Institut voor Sonologie" (the Hague) and with Tristan Murail and Brian Ferneyhough at IRCAM (Paris), where he was also employed as composer-in- research and teacher.

He has a keen interest in the physical-acoustic nature of instruments and the phenomenology of natural sounds. “To penetrate the sound, to compose the timbre” constitutes his real motivation to use modern technology when composing. While demanding an in-depth knowledge of modern musictechnology, this approach has resulted in a unified compositional approach whether writting for instrumental or electronic resources alone or in combination.

He also likes to involve himself with perfomance, interaction and diffussion of electronic music, as well as to collaborate with other artforms. He has composed instrumental and vocal works, works for instruments and electronics, for tape, for the stage and as well as audiovisual installations and music for artvideos. He has participated in a number of international development projects of computertools for controlling soundsynthesis (IRCAM 2009), and has taught at numerous courses on soundsynthesis, computeraided composition and spatialisation. Since 2006 he hold a position as associate professor in electro-acoustic composition at the Royal Danish Academy of Music, Copenhagen (Denmark).

His music has mainly been performed in Europe and is released on CD at DaCapo, Media Artes, Kontrapunkt. A CD release of his electro-acoutisc works is available from his site. In 1996 he recieved a 3 year stipendium from the art council of the state of Denmark. In 2009-11 he is in residence with the Aarhus Symphony Orchestra (Denmark) for whom he will be composing two new orchestral works.

Link
www.hpst.dk