Pianists and piano students, save the date: On Friday, April 6, 17:15-19:15, Frédéric Bevilacqua and I will give a workshop on the use of interactive systems for learning notated piano music. You can put your hands on state-of-the-art tools developed at ircam, such as inertial sensors, patches for recording and play-back of multimodal data, the motionfollower and my GesTCom (gesture cutting through textual complexity). You will also be introduced to the “embodied navigation of complex notation”, my method for learning notated music through movement.
On Friday and Saturday morning, we will host, together with Verena Wuesthoff, two workshops for children and adolescents. The participants will explore MO-Objects, the differences between electronic and acoustic sound, interactive scores and the motionfollower in allelomimetic actions with or without instruments.
You may register here:
Le 26 mars 2018 à 20h00
Cité de la musique et de la danse
1 place Dauphine, 67000 Strasbourg
Tram C/D arrêt Etoile-Bourse
- The Edge pour soprano, clarinette, piano, violoncelle et sons fixés (1994, 13′)
- Wüstenwanderung pour piano (1986, 20′)
- Klangfaden pour clarinette basse, harpe, glockenspiel (1983, 15′)
- The Paradoxes of love pour soprano et clarinette (1987, 7’30)
- Echoes / umbrae Idearum pour soprano, flûte basse, cor de basset, violon, alto, violoncelle (2000, 12′)
Concert donné par l’Ensemble Accroche Note et organisé par Armand Angster, avec le soutien du GREAM, de la HEAR et de l’Académie Supérieure de Musique de Strasbourg, dans le cadre de la Résidence « Autour de Walter Zimmermann » organisée par Pierre MICHEL (membre du GREAM) du 26 au 27 mars 2018.
Le 27 mars 2018 de 09h30 à 17h00
Misha (université de Strasbourg)
5 allée du Général Rouvillois, 67000 Strasbourg, Salle Europe
Tram C/E/F arrêt Observatoire
Stockhausen – Refrain (1959)
Steven Schick, percussion
James Avery, piano
Pavlos Antoniadis, celesta
Originally released on Mode Records (#274, “Stockhausen”). For more info or to order, visit: moderecords.com/
Posted with permission.
Luigi Nono, ...sofferte onde serene…, for piano and tape (1975–77)
Live @ SARC, Queen’s University Belfast, 18.01.2018
…Suffered, serene waves… was composed in a period of intense reflection and self-criticism that would lead Nono to new modes of composing and to renewed perspectives on the arts, aesthetics, and, crucially, on the political implications of art. Contrary to Nono’s pieces of the previous fifteen years …..sofferte onde serene… has no direct political message or contents. Its main foci are the study of Maurizio Pollini’s piano sonority and playing techniques, as well as the study of diverse compositional techniques and strategies. To a certain extent the piece is a renewed exploration of some constructive principles that Nono had learned in the late 1940s from his teachers Hermann Scherchen and Bruno Maderna. In this sense, …..sofferte onde serene… may be seen as the beginning of a new path, as a piece that opened the door to a new ‘style’ – a style that would produce works such as Prometeo. Tragedia dell’ascolto (1981/84), Caminantes … Ayacucho (1986/87), or La lontananza nostalgica utopica futura. Madrigale per più caminantes con Gidon Kremer (1988/89).
This piece was not only conceived experimentally (especially the tape production) –its concert rendering involves various degrees of uncertainty and unpredictability of sonic combinations. Nono achieves this, in the first instance, through the use of ‘shadow’ sounds, similar sonorities that come sometimes from the piano, sometimes from the tape, and that generate a perceptual (con)fusion for the listener. This (con)fusion is enhanced by relatively free time-relations between live-piano and tape, allowing the performer on the piano and the performer controlling the sound-projection to intertwine a great variety of sonic affinities.
(Note by Paulo de Assis, https://www.researchcatalogue.net/view/51263/65676)
Helmut Lachenmann, Echo Andante, for solo piano (1961–62)
Live @ UCSD, San Diego, Spring 2008
Echo Andante, nach meiner Rückkehr vom Studienaufenthalt bei Luigi Nono in Venedig komponiert, von mir selbst 1962 in Darmstadt uraufgeführt, bedeutet – trotz anderer früherer Arbeiten, die ich nicht verleugnen mag (etwa die Schubert-Variationen) – zusammen mit Souvenir und Fünf Strophen wohl mein “Opus 1”, mit einer ähnlichen zugleich abschließend rückblickenden und aufbrechend vorwärtsblickenden Rolle, die etwa Bergs Klaviersonate oder Weberns Passacaglia in deren Schaffen spielte.
Ich war geprägt und fasziniert von der Reinheit und Konsequenz des damaligen nonfigurativen Vokalsatzes meines Lehrers Nono, bei welchem die Töne als gehaltene während ihrer Dauer in fließende Intervallbeziehungen zueinander treten, wobei diese über flexible Dynamik und Klang- bwz. Vokalfarben noch weiter innerlich artikuliert und hierarchisch abgestuft werden.
Mein Vorhaben, von solcher Praxis bei der Entwicklung eines Klaviersatzes auszugehen (Nono hat damals wohlweislich nichts für Klavier, überhaupt kaum etwas für Soloinstrumente geschrieben), war bewußt ein Versuch am widerspenstigen Objekt, wo doch der Klavierklang permanent unter den Händen zerrinnt.
Den ständig fliehenden Ton als Komponente von sich auf-, ab- und umbauenden Intervallstrukturen “rechtzeitig” zu nutzen und gerade dadurch den stereotypen Diminuendo-Charakter zugleich bewußt zu machen und wenn schon nicht zu überwinden, so doch immer wieder zu überlisten unter Einbeziehung von Pedal- und Flageolett-Techniken (mittels stumm gedrückter Tasten), aber auch durch Einbeziehung von tonalen “Konsonanzen” als hörbar gemachten Obertonspektren, führte zu Ergebnissen, in denen der Ausgangswiderspruch sich selbst thematisierte und die Form des Stückes regelte.
Andererseits führte solche Auseinandersetzung mit dem Vorbild Nono zugleich von dessen Idiom weg zu einem Klangdenken, in dem Struktur nicht Mittel zu expressiven Zwecken, sondern Expressivität als vorweg Gegebenes, den Mitteln bereits Anhaftendes, zum Ausgangspunkt für strukturelle Abenteuer wurde.
Helmut Lachenmann, Musik als Existentielle Erfahrung
James Erber, Elided Dilapidations (after C.P.E. Bach) (2014-15)
Two of the leitmotifs running through my work are the effect of time on memory and perception, and the creation (however illusory) of a fragile continuity from discontinuity. My large-scale ‘Traces’ Cycle for solo flute (1991-2006) is perhaps the best illustration of the former tendency, while the latter is typified by Music for 25 Solo Strings (Epitomaria-Glosaria-Commentaria) and åNeM (1996) for solo piano.
Like Music for 25 Solo Strings and åNeM (based respectively on a motet by William Byrd and an organ work by the 17th Century Neapolitan composer Giovanni Maria Trabaci), this piece makes use of pre-existing musical material. In this case, seven fragmentary and radically differentiated versions of the Andante from C.P.E. Bach’s 4th Württemberg sonata are segmented and interleaved. Their juxtaposition creates the impression of an object viewed from different angles, different distances and different perspectives, prompting a constant revaluation of an original, which remains tantalisingly out of earshot.
I also like to think that the piece is not simply an acknowledgement of my long-standing interest in C.P.E Bach, but can be seen as a symbol of the welcome critical re-interpretation of his music over the past 50 years, as well as recognising his well-documented interest in philosophy, aesthetics and music theory.
The piece is dedicated to Pavlos Antoniadis.
British composer James Erber was born in 1951 in London of an Austrian father and an English mother. He studied Music at the Universities of Sussex (BA, 1973) and Nottingham (MA, 1975). While a student at the University of Sussex, he took flute lessons with Gareth Morris and conducted performances of his own realisation of Giulio Caccini’s opera L’Euridice (1600). In 1976, he began work both as Music Editor for Peters Edition Ltd., London and as freelance editor, writer and translator. Still largely self-taught as a composer, it was at this period he produced his first acknowledged works, beginning with Seguente for oboe and piano (1976, revised 1980). The guidance and encouragement he received from Brian Ferneyhough prompted him to a serious study of composition, firstly with Jonathan Harvey at the University of Sussex (MPhil in Composition, 1983), then from 1981 to 1982 with Ferneyhough himself at the Musikhochschule, Freiburg-im-Breisgau, for which he received financial support from The German Academic Exchange Service (DAAD), the RVW Trust and the Rivendell Trust. Since returning to England, he has combined composition with teaching and lecturing, including three years in the Music Department at Goldsmith’s College, University of London from 1991 to 1994. He has written articles and lectured widely on his own work. He was invited as guest lecturer to the Darmstadt Ferienkurse in 1988 and 1990, having won a Stipendienpreis there in 1986. In 1994 and 1996 he was shortlisted for the Hinrichsen Foundation bursary and in 1994 received a Holst Foundation Award, enabling him to write Abiya for solo piano. In January 2015 he was composer-in-residence at the soundON festival of Modern Music, San Diego CA. James Erber’s work reflects a wide range of interests, including Renaissance and Baroque music, the music of South-East Asia, Jazz, blues, Mediaeval and Renaissance philosophy, Kabbalah, green politics, recent scientific developments, film noir, Jacobean tragedy, the Gothic novel and historical slang. His music is technically demanding for the player, being multi-layered and complex (especially from the point of view of rhythm and form). Its complexity is, however, combined with harmonic clarity and lyricism as well as a tenuous sense of optimism and a concern with intellectual and spiritual continuity diametrically opposed to much of present-day musical culture. It has been performed and broadcast widely throughout Europe, in Australia, New Zealand and the USA by soloists such as Mario Caroli, Matteo Cesari, Carin Levine, Nancy Ruffer, Christopher Redgate, Carl Rosman, Darragh Morgan, Frank Cox, Ian Pace and Jonathan Powell, as well as by ensembles including Lontano, Exposé, 175 East, the Arditti Quartet, NOISE and ELISION. Matteo Cesari’s critically-acclaimed recording of The ‘Traces’ Cycle and three other shorter works for solo flute is available on Convivium Records. Other works will be found on NMC, Metier and Centaur Records (USA).
IKLECTIK presents: Azoman by Unrealtime group
Thursday 8 March Doors 7.30pm – Music 8pm | £8/£6 (on the door)
Pavlos Antoniadis (piano, motion followers), Panos Ghikas (violin/viola/bass/unreal-time interface), Nick Roth(non-virtual, infra-augmented saxophonic objects) and Luis Tabuenca (percussion) will give the first performance of a long form work that expands upon a network of technologically mediated performance concepts initiated by a project of parallel collaborations called Open Cycles.
Combining the initial parallel co-investigation into a concept for group improvisation/composition, Unrealtime group will create a longform work (Azoman) based on Panos Ghikas’ Unreal-time improv concept and Pavlos Antoniadis’ concept of Embodied Navigation of Complex Notation. The former approaches improvisation and composition as interchangeable and complementary strands of music-making through audio timeline navigation; the latter explores a similar fluidity between the realms of gesture, notation and sound in piano performance. Drawing from the performance design for a piece by Antoniadis and Ghikas (Toxic Gum, Berlin, May 2017) and the fixed/unfixed works generated by the Ghikas-Roth and Ghikas-Tabuenca duos, Unrealtime Group will integrate all four performers within a nexus of interfaces that will enable complex group interaction.
Unrealtime group has received the kind support of the School of Music and Performing Arts and the Centre for Practice Based Research in the Arts, Canterbury Christ Church University, UK.
Toxic Gum (edit) – Pavlos Antoniadis / Panos Ghikas
He Piccoli Man – Panos Ghikas / Nick Roth
Nausea – Panos Ghikas / Luis Tabuenca