If you are in Athens this coming Thursday, September 18th, don’t miss the concert Music for Ensemble II at the JOINT ICMC/SMC Conference. The concert takes place at the Main Hall of the Onassis Cultural Center, a state of the art concert hall.
Among various very interesting works in the program, by composers such as Patricia Alessandrini, Judith Shatin, Kyong Mee Choi, Lidia Zielinska, Martin Ritter, and my Greek colleague Leontios Hatzileontiadis, is my wok Effluénces (2011), a very challenging piece for ensemble.
Onassis Cultural Center, 107-109 Syngrou Avenue, 11745 Athens, GR. http://www.sgt.gr/en/programme/event/1738
The full program of the concert entails:
Leontios Hadjileontiadis, Brainswarm for bio-conductor soloist and ensemble, kinect, ΕEG Emotiv, MAX/MSP-Processing live electronics and visuals (2013) 13′
Judith Shatin, Spring Tides for amplified flute, clarinet, violin, cello, piano and interactive electronics 11’3”
Patricia Alessandrini, Trio d’après Schoenberg for cello, clarinet, piano and electronics 7′
Martin Ritter, Prayer for alto flute, cello and percussion (2013) 13′
Kyong Mee Choi, Tender Spirit I for flute, clarinet, violin, cello, piano, percussion and electronics (2013) 9’20’
Lidia Zielinska, Rust for 5 instruments and CD (2010) 9’24”
Dimitri Papageorgiou, Effluénces (2011) for flute, bass clarinet, violin, cello and piano (2011) 12′
Zacharias Tarpagos (fl), Alexis Pogrevnois (cl), Giorgos Panagiotopoulos (vln), Alexandros Mpotinis (vc), Thodoris Vazakas (perc), Giorgos Konstantinou (pno), Kostas Anastasopoulos (pno)
Effluénces – Program Notes:
I wonder how the warp of living memory can affect a musical narrative, which would record the inscription, over time, of the remembered past — e.g. of a musical event – in memorial form. For that purpose, I tried to focus on the moment of recollection and I have envisaged the form as a ‘tree of memory.’ The branches of this ‘tree’ extend in various directions as reconstructions of the past in the light of present, following the tricks memory plays in every step of the way: some of the facts have been switched, others are omitted or added; in some cases, accurate memories are mixed with inaccurate ones and, in other cases, facts are perhaps retained but their source is forgotten.
￼The pitch structures of Effluénces have been obtained by using algorithmic routines in Super Collider. The routines have been implemented in the frame of the research project Algorithmic Composition in the Context of New Music (2009-10), which took place at the Institute for Electronic Music and Acoustics of the University of Music and Drama at Graz, Austria. Given a limited material as input—usually two or three different ordered pitch cells—linear arrays of cells are formed which are subsequently braided with one another, constantly regrouping into new formations in order to engender inexhaustible variants at the output.
The score of Effluénces is available by BabelScores at www.babelscores.com/en/catalog/inst…ents/effluences