#10 ascolta Akusmatische Hörstunde
Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art
The Composer, Herself
Konzert
19.03.2024, 18:00
Toni-Areal, Kompositionsstudio 3.D02, Ebene 3, Pfingstweidstrasse 96, Zürich
Eintritt frei
Programm:
Natasha Barrett
Prince Prospero's Party [2005] 2nd order Ambisonics 16:00
One of the first pieces in Ambisonic second order was by Natasha Barrett as Artist in Residency 2005 at the HMT Zurich.
Natasha Barrett (1972) is a composer who explores new technologies and experimental approaches to sound in contemporary music, including concert works, public space sound-art installations, and multimedia interactive music. She is internationally renowned for her electroacoustic and acousmatic music and use of 3D sound technology in composition. Her work is commissioned and performed throughout the world and has received over 20 international awards, including the Nordic Council Music Prize, the Giga-Hertz Award (Germany), five first prizes, and the Euphonie D'Or in the Bourges International Electroacoustic Music Awards (France), two first prizes in the International Rostrum for electroacoustic music and most recently the Thomas Seelig Fixed Media Award for 2023. She collaborates with performers, visual artists, architects, and scientists and is active in performance, education, and research.
Beatriz Ferreyra
Huellas Entreveradas [2018] 14:40
8-CH played in Ambisonics
DEGEM (German Association of Electroacoustic Music) commissioned them. Traces and footprints cross, disappear, hide, become fluid, faint before the maze of memory, or perhaps during a hike through an unknown landscape.
Beatriz Ferreyra (geboren 1937 in Córdoba, Argentinien) steht seit 1963 an der Spitze der elektroakustischen Musikkomposition, als sie als Forschungsassistentin von Pierre Schaeffer zur Groupe de Recherches Musicales kam. Sie ist eine der wenigen noch aktiven Komponisten, die an den Anfängen von Schaeffers Theorien über Klangobjekte und reduzierte Hörtechniken beteiligt waren. In ihrer sechzigjährigen Karriere komponiert sie weiterhin Auftragswerke und tritt weltweit auf.
Judy Klein
The Wolves of Bays Mountain (1998)
Stereo-tape (21:00) neu interpretiert in Ambisonics 3D-Audio
Bays Mountain Park is a nature preserve in the mountains of Eastern Tennessee. During the 1990s, I made several trips to the park to record the wolves living there. In the piece, the wolves are heard much as I heard them myself, sometimes only footsteps away, and also transformed, such as in the realm of imagination, memory, and dream. For the composition, I used the Csound computer music language. All the sounds come from the recordings, in unaltered or slightly modified form and as source material in musical settings and transitions. The piece opens quietly (The beginning is barely audible.), with sounds derived from the recording of a winter chorus howl. Over time, the voices of the wolves become distinct. Two wolves bring the howling to an end with a sequence of short, antiphonal calls. In the middle sections, the recordings are virtually unedited. It's nearly spring. The wolves are heard in their environment, first in the early morning and then in the still of the late night. The howling in the final section is again from winter, the mating season. It ends with the love song of Kashtin, the pack's alpha female, and her majestic mate, Navarro, who died the following year and in whose memory the piece was written.
Judy Klein, a composer and sound freak, lives in New York. She was born on 14. April, 1943, in Chicago. She is an American composer and music educator. She founded the Computer Music Studio at New York University and served as its director in the 1980s. Her music is primarily acousmatic and includes works for the electronic medium, sound installations, music for theatre, and collaborations with visual artists.
Quelle [Wikipedia]
