THURSDAY, APR 15, 2010

8:30 pm Theodor Schubach/Egor
Poliakov/Sebastian Peter/Christian Helm
Concert
Compositions.
Schaubuehne Lindenfels, Ballsaal

Students from music colleges in Leipzig, Weimar and Dresden present their latest compositions.


THEODOR SCHUBACH: RESONANZEN III. live-electronics

In a room the resonance frequencies of a feedback sound system can be illustrated. Through a periodic shift between amplification and damping sound objects, whose identities are formed by an integration into the space-dependent sound system, are formulated. The various connections of the sound objects and their variable delays lead to diverse reactions to their environment. The spectrum ranges from objects that erode shadows of events in a process of repitition, thereby developing an identity, to groups of objects that project other objects out of a defined perspective in order to capture single features.

EGOR POLIAKOV: DOUBLE HELIX. oboe, cello and live-electronics

The double helix is a geometrical entity consisting of two spirals with a common pivot. It is mostly used  as a model in molecular biology, especially in relation to DNA. A DNA strand is very long but consists of only few repeating elements which – solely by their order – determine the genotype and therefore, all physical and biological features of a creature. Projecting this principle onto a musical form or structure, one can create a figure that posesses only a few components – divided into rhythmic events, into dynamics, into pitches and into the way of sound production. Only through continuous alternation of the configuration of these elements new musical material can be generated. The electronic voice is treated as a solo instrument. Except for very few recorded sounds, only the sounds of the oboe and cello, produced live, are used as sound material.

Electronics: Egor Poliakov

Oboe: Arnfried Falk

Violoncello: Lin Hui-Chun

SEBASTIAN PETER: SCHATTEN. audiotape

“Schatten“ is the transformation of the first chapter of Jörg Fauser’s autobiographical novel “Rohstoff“ into an electroacoustic composition.

One listens deeper and deeper into the world of the author and his shadows in Istanbul: opium, writing and doubts. The piece consists partly of original recordings, made on a research trip to Istanbul. And partly of four-channel studio recordings. In these recordings a macroscopic illustration of very small and subtle sounds was achieved, such as the lighting of a matchstick, the writing with a pen and the scratching on wood with a needle.

The original recordings of the sound surfaces were recorded with a singer in the cistern of a former waterworks in Berlin-Grunewald  (time of reverberation: 20 seconds). “Schatten“ forms the basis for the experimental radio play “Rohstoff Eins“, which has been honoured with the Prix Decouvérte Pierre Schäffer for young sound artists at the festival Prix Phonurgia Nova in December 2009.

CHRISTIAN HELM: MASCHINARIUM. audiotape

The sound material of this piece consists of improvisations on the electric guitar however played with a hand-held mixer for a plectrum.

The pick-up heads of an electric guitar work by transforming acoustic vibrations into electro-magnetic oscillations and thus react quite strongly to the electro-magnetic field of the motor in the mixer. With the aluminium casing of the mixer one is able to play the strings of the guitar very evenly – similar to slide playing in blues (bottleneck) or to playing on a violin with a bow.

The improvisations obtain a distinctive, characteristic acoustic colour and accentuation. In this piece they blend into many new structures but still retain the nature of the guitar play.


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