FINALE PRIX RUSSOLO 2019

| Experimental music | dátum: 17. január 2019 (piatok) | miesto: A4 Bratislava | forma: Koncert a verejné hlasovanie – Formulár TU

>> PRIX RUSSOLO 2019 compositions

Koncert spojený s verejným hlasovaním o najlepšiu experimentálnu kompozíciu za rok 2019. Medzinárodná porota so sídlom v Annecy (Francúzsko) vybrala zo 130 kompozícií sedem, ktoré postúpili do verejného hlasovania. Verejné koncerty sa uskutočnia do konca marca 2020 a vyhlási sa víťaz PRIX LUIGI RUSSOLO 2019.

Koncerty s hlasovaním:
Praha (CZ) 04/11/2019
Dublin (IRL)10/11/2019
Brastilava (SK) 17/01/2020
Edinburgh (UK) 20/02/2020
Tokyo (J) 23/02/2020
Milano (I) 03/03/2020
Annecy (FR) 04/03/2020
Geneve (CH) 05/03/2020
Athens (GR)15/03/2020
Moscow (RU) 19/03/2020

KONCERT (Súťažné kompozície)
– Collectif Batida+D.Poissionnier+T.Perodin (CH)
– Luca Forcucci (CH)
– Nicola Frattegiani (I)
– Panayiotis Kokoras (GR)
– Eduardo Palacio (MX)
– Nahuel Litwin (RA)
– Emma Souharce (Fr)

Last minute shodo             9’51’’

In LAST MINUTE SHODO, all the fields of the compositional phenomenon are disrupted: architecture, recording, interpretation, drawing. From individual signature to collective signature, the composition of LAST MINUTE SHODO is a 14 hands creation.

Calligraphic insects invade the white in a world that strongly evokes Japan. They multiply, organize their spacing on the paper playing with digitization games to field the space of sounds. A viral sound invasion? A digital calligraphy? LAST MINUTE SHODO shakes the eardrums of the listeners with labyrinthine vibrations. On the single exit door: “We are the attack, you are the reasonance.”

LAST MINUTE SHODO is a 14 hands composition by: Alexandra Bellon, Anne Briset, Jeanne Larrouturou, Raphael Krajka, Viva Sanchez, David Poissonnier (Ensemble Batida) and Thomas Perrodin.

BODYSCAPE   11’00”

Bodyscape is inspired by the body of a dancer as sonic source. The information is taken via biosensors and microphones, which record movements and events generated by the body. 

In this ecosystem, the dancer produces sounds, mainly inaudible, which are then amplified and send back to the performance space, where the dancer interact with them as biofeedback. The site specificity of the work relates to the spatial considerations and resonances.  Field recordings were collected at the border of Botswana and South Africa. L’épidemie virale en Afrique du Sud, a text from the Swiss writer Friedrich Dürrenmatt, informed the journey. The text describes a virus transforming white persons into black persons. A text about privileges.

Recorded atThe lab / san francisco / usa / by cheryl e. leonard centre dürrenmatt neuchâtel / switzerland / by luca forcucci

Banlieue cuivrée      8’03”

Banlieue cuivrée. Suburb brass. Crumbled concrete. The matter fragmentation, its chaos and energy, counterpoised to its implacable, pure and monolithic immobility. The cement shifted through the metal and the leather. The expression “banlieue cuivrée” comes from the will to represent the life of a cement magma with its morphed and dynamics fluctuations, its slackening and but also with its static poses sublimated in the urban architectonic context. Hence concrete. A specific matter. A “fact” surrounding our daily space. A rigid corporeality but that comes in liquid form. Concrete. Suburb. Banlieue. The colour grey. The composition has been built using exclusively concrete samples of metallophones and membranophones instruments. Brass is the dominant metal color in the musical context, hence the second French term cuivrée. To this light a copper mass, alternating its breath in different ontological sound statuses, is the resulting terminological syntaxes.

Qualia       9’40’’ 

Qualia has been composed at the CEMI studios – Center for Experimental Music and Intermedia at the University of North Texas in 2017. The composition explores the experience of music from perception to sensation; the physical process during which our sensory organs – those involved with sound, tactility, and vision in particular – respond to musically organized sound stimuli. Through this deep connection, sound, space, and audience are all engaged in a multidimensional experience. The motion and the meaning inherited in the sounds are not disconnected from the sounds and are not the reason of the sounds but are in fact the sound altogether. Energy, movement, and timbre become one; sound source identification, cause guessing, sound energies, gesture decoding, and extra-musical connotations are not independent of the sound but vital internal components of it. 

Qualia are claimed to be individual instances of subjective, conscious experience. The way it feels to have mental states such as hearing frequencies at the lower threshold of human hearing or a piercing sound, hearing a Bb note from a ship horn, as well as the granularity of a recorded sound. It is an exploration of time and space, internal and universal. 

In Qualia, I do not experience musical memory as a sequence of instances but as a sensory block that last the entire duration of the piece. The experience of sound itself is not sequential, it bypasses past or future, time becomes an omnipresent wholeness, a single unity. In this state of consciousness, time dissolves. The vibrating air molecules from the speakers, the reflections in the physical space, and the audience are the sound.

CYCLE ET RUPTURE  9’50”

Multichannel piece that arises from the topic,
Emotional Perception (emotional filters),
Which integrates the project “Perception in three instants.« 

Discernment and interpretation in permanence, divisions and disconnections ofsensations, ruptures filtered by the conscience forming a cyclic unit ofperception.

Project Supported by the National Fund for Culture and Arts–

FONCA / Mexico.

ASFALTO   9’16”

The present acousmatic work was made with sonic materials taken from the streets of Buenos Aires. The sounds of engines, machines and crowds where mixed to invent a dreamlike and at times threateningsound context. Here, the city seems at times to twist and mutate in incredible and unimaginable ways, as in a dream … or perhaps as in a nightmare.

NOTIFICATIONS FROM BED (Gonna Be Gonna Be)  10’14’’

Symphony on solitude paradoxes

Dawn mental situations : Finding one’s proper life rythm by changing froma place to anotherevery 4 months. Concentratating on one’s own world, dealing with other’sown worlds, sharing motivations and goals. Dealing with daily saturation of informations

 This piece is the first composition I made being in residency in the middle of a naturalreserve in south-west of France, from beginning of july until november. Being alone in a relatively silent place increased the impact of each inner and outer sounds. Thus notificationspopping out from my phone and laptop began quickly to be bothering, and at the same time took a big place for self reassurance as one of the only connexions I have with the sociable world. As a representation of the latter, I started to focus on my laptop’s inner sound librarywhere are stored the notifications bips and pops. Thus I wanted to dig deeply the relationshipto the numeric social world and there paradoxes, on the belief of being connected but feeling lonely, on the construction and deconstruction of one’s self, on the flattening of everyinformation putting physically anything on the same level, from refugees drifting in the mediterranean sea to your friend’s last whatsapp message asking for a drink with youtonight. On dissolving responsibilities, on culpability, precariousness, on concentration loss, passing from a subject to a totally different one without noticing it, on news feeds, pop ups,humor, letting go, lists, brain saturation and saturation.

On doing the best with what we have. On infusing emotions in every corner of the motherboard.