October 26, 2016
|Location:||Il Suono di Piero [Aula Bianchini]|
|Sound Direction:||Federico Paganelli|
|Wilfried Jentzsch||ENTRE CIEL ET TERRE (BETWEEN HEAVEN AND EARTH) • 13’45|
|Benjamin O’Brien||OSCines • 6’08|
|Clelia Patrono||Blue4Notes • 8’27|
|Daniele Pozzi||Breakpoint • 6’24|
ENTRE CIEL ET TERRE (BETWEEN HEAVEN AND EARTH)  Heaven´s and Earth´s interspace it´s like a bigpipe: empty, yet not collapsing: in motion, yet generating even more. (Daodejing, Part 1 (5), Wikipedia) The verse was the spiritual source of this electroacoustic composition. The heaven, the earth, and the space between them produced the conception of the multidimensional circular sound space. The spatial movements of sounds are characterized by various configurations which varie the speed, the direction and the distance to listeners. The sound material is based on three elements: the Chinese cymbals, the birds’ singing and the medieval chant (Machaut). These sounds are derived from various cultures, epochs and even from the nature. The sounds have been synthesized by using various methods of cross synthesis. With help of these highly developed digital sound-processing methods of the computer, producing a new quality of sound was enabled. This composition was premiered on 23rd March 2016 at Espace Senghor Brussel and is dedicated to Annette vande Gorne.
OSCines  OSCines focuses on the process of translating melodies found in birdsongs. The nightingale belongs to the clade Passeri also commonly known as Oscine, from the Latin root oscen meaning a songbird. Its birdsong is composed of a wide range of whistles, trills, and gurgles, which create a rich and vibrant melodic contour. Nightingale and clarinet samples serve as source and target materials (interchangeably) for spectral information collected via signal-processing detection systems. OSCines explores the alignment and collisions of distinct timbre features and melodic topologies within the virtual aviary of the stereophonic speaker space.
Blue4Notes  Piece in four movements. The sounds in this piece are concrete and sounds made by a guitar played with a e-bow. All sounds have been processed by granular synthesis, equalization and resonance filters.
Breakpoint  This work was created exploiting an original computer toolkit designed for the dynamic exploration of bi-dimensional sonic morphologies. A virtual space of audio descriptors, populated by sound units, is the perfect habitat for a group of abstract agents, whose movement is dictated by a simple set of rules - alignment, cohesion and separation - that define the physical model of a swarm. Diverse spatial configuration and patterns emerge, giving life to a self-regulating explorative process. Each single agent is a moving pointer in the concatenate space, playing back the closest grain to its actual position. Timbral movements and textures generated through this algorithmic system are combined with more common processes of montage and collage in a form that both shapes the piece and at enrich simultaneously the sound pool explored by the agents, in an iterative cycle that shortens the distance between formalism and materism. In software development, a breakpoint is an intentional interruption in a program, put in place for debugging purpose. This term metaphorically describes all the sudden and disruptive blocks that systematically take place in the piece: in the middle of assembly processes materials get split, separating in unexpected new configurations and in other emergent dispositions. The outcoming structure of the piece is the result of juxtapositions, superpositions and counterposition of compositional hesitations and emegent algorithmic procedures, in a constant abstract crumbling and re-assembling process, that is always suspended before reaching the contour of a construction.