16 05 2013
#3326

WITHIN THE HORIZON OF THE OBJECT (with Emilie Ding (CH)) @ Ausstellungsraum Klingental / BASEL


20130424_ak_horizon_a5_2.jpg

Address:

Ausstellungsraum Klingental
Kasernestrasse 23
4058 Basel
Switzerland
www.ausstellungsraum.ch

Exhibition Details:

May 26 – June 30, 2013
WITHIN THE HORIZON OF THE OBJECT
An exhibition by Emilie Ding (CH), Viktor Korol (CH), Virginia Overton (US), Mandla Reuter (DE) and Adam Thompson (GB), curated by Samuel Leuenberger

Opening: Saturday, May 25, 2013, 6:00 pm
With a reading by Quinn Latimer

----------

On the occasion of Art Basel:  12 June, 2013, 9 pm
Emile Ding's Special Event: A Musical Performance by Stephen O'Malley (solo)
In connection with the publication of Emilie Ding's first monograph in the Collection Cahiers d'Artistes 2013 by the Swiss Arts Council Pro Helvetia.

Stephen O'Malley (b. 1974 USA) is a composer, guitarist and musician who is often associated with to the drone Style. He operates in several different formations but most notably in the famous drone metal band Sunn O))). Emilie Ding invited the musician for a musical performance, which stands in direct dialogue with her work. With apparently simple means, both are re-experimenting with physicality and explore strategies around sound and matter.

Opening During Art Basel:
Mon, Tue: 11 am – 5 pm
Wed-Sat: 11 am – 10 pm
Sun: 11 am – 7 pm 

16 05 2013
#3325

Gisèle Vienne "The Pyre" (creation 2013 with score by KTL in collaboration with IRCAM) newsletter


newsletter_gisele_thepyre.jpg


vienne3.jpg

KTL composed the score for this new, great piece by Gisèle Vienne & co.! Premiers at Pompidou later this month and tours extensively throughout Europe following.

More information / tour dates: 

http://www.g-v.fr/creations/ve-thepyre-frameset.htm 

http://www.g-v.fr/ve-agenda.htm

photo: Anja Röttgerkamp in The Pyre. © Maarten Vanden Abeele

15 05 2013
#3324

TORMENTOR (Hun) LP reissues on SATURNUS


image_1_php.png


image_php.png


stn003_tormentor_anno_domini_front_pack.png


stn004_tormentor_7th_day_of_doom_front_pack.png


843_cover.jpg


844_cover.jpg


845_cover.jpg

These are limited edition definitive versions on Attila's own label SATURNUS. Each edition comes with a lot of cool extras like fanzines, photobooks, patches, etc. The masters' fidelity is perfect. The feeling of the underground metal vibe of the time period is impeccable.

http://www.saturnusproductions.com

15 05 2013
#3323

TECTONICS Glasgow 2013 BBC Radio broadcast information

Oren Ambarchi & Stephen O'Malley performing Alvin Lucier's "Criss Cross" http://www.bbc.co.uk/programmes/p0195wmg

BBC3: HERE AND NOW Glasgow Tectonics Festival 2013 Episode 1 of 3 http://www.bbc.co.uk/programmes/b01shxxt

The entirety of last weekend's TECTONICS Festival in collaboration with the BBC Scottish Symphony was recorded by the radio and will be rebroadcast over the next three weekends! So, you'll have a chance to hear these challenging pieces even if you didnt make it to Glasgow. Here are the broadcast details, all times are local UK time, and this should be streaming online as well at http://www.bbc.co.uk/radio3/


1) BBC Radio 3, Wk. 21, Saturday 18 May 2013 @ 22:00-24.00
Robert Worby introduces the first of three extended editions from the Tectonics festival in Glasgow, an event curated by conductor Ilan Volkov in association with the BBC Scottish Symphony Orchestra. Among the composers featured are the American sound experimentalist Alvin Lucier and Romanian spectralist Iancu Dumitrescu.
 
Alvin Lucier: Exploration of the House (UK premiere)
Morton Feldman: Cello and Orchestra
 
BBC Scottish Symphony Orchestra
Anton Lukoszevieze (cello)
Ilan Volkov (condutor)


 
Iancu Dumitrescu: Hazard and Tectonics for computer assisted sounds,
electric guitars, prepared piano, percussion (World Premiere)
Ana Maria Avram: Nouvel Archae for computer-assisted voice and live voice
 
Iancu Dumitrescu (electronics, electric guitar)
Ana Maria Avram (electronics, prepared piano)
Ilan Volkov (prepared piano)
Fritz Welch (percussion)
Stephen O'Malley (electric guitar)

 
Alvin Lucier: Criss Cross for two electric guitars and pure wave oscillators (World Premiere)
 
Oren Ambarchi, Stephen O'Malley (electric guitars)
Alvin Lucier (electronics)
 
 
2) BBC Radio 3, Wk. 22, Saturday 25 May 2013 @ 22:00-24.00

Robert Worby with highlights from the Tectonics festival in Glasgow, an event curated by conductor Ilan Volkov in association with the BBC Scottish Symphony Orchestra. Music includes a new work from Canadian composer and sound artist Chiyoko Szlavnics and the World Premiere of Iancu Dumitrescu's electric guitar concerto, performed by Sunn O)))'s Stephen O'Malley.
 
Chiyoko Szlavnics: New Work (World Premiere)
Alvin Lucier: Slices for cello and orchestra
 
BBC Scottish Symphony Orchestra
Anton Lukoszevieze (cello)
Ilan Volkov (condutor)

 
Ana Maria Avram Metslstorm (II) for computer assisted sounds, electric guitar,
cello, percussion and piano (World Premiere)
 
Iancu Dumitrescu (electronics)
Ana Maria Avram (electronics, piano)
Stephen O'Malley (electric guitar)
Hildur Gudnadottir (cello)
Fritz Welch (percussion)
 
 
Iancu Dumitrescu: Elan and Permanence (World Premiere)
 
Stephen O'Malley (electric guitar)
BBC Scottish Symphony Orchestra
Ilan Volkov (condutor)
 
 
3) BBC Radio 3, Wk. 23, Saturday 01 Jun 2013 @ 22:00-24.00
 
Robert Worby presents the final instalment of highlights from Ilan Volkov's Tectonics festival, this week showcasing the work of British composers as part of this month's celebration of British Music, and including several World Premieres of BBC Commissions.
 
Martin Suckling: Release (BBC Commission, World Premiere)
David Fennessy: Prologue (Silver are the tears of the moon) (BBC Commission, World Premiere)
John De Simone: New Work (BBC Commission, World Premiere)
Frank Denyer: The Colours of Jellyfish (BBC Co-Commission with the Iceland Symphony Orchestra, UK Premiere)*
Charles Ross: The Ventriloquist (UK premiere)
 
*Juliet Fraser (soprano)
*Children from St. Mary's Episcopal Cathedral Choir, Edinburgh
BBC Scottish Symphony Orchestra
Ilan Volkov (conductor)
13 05 2013
#3322

Today's inspired, random RSS visuals


madelina_horn_0.jpg


madelina_horn_2.jpg


madelina_horn_3.jpg


tumblr_mm1uer5lot1qe0lqqo1_500.jpg


tumblr_lzf5odkkc01qi0kfro1_500.png


last_year_at_marienbad_review.jpg

... today is tuesday the 13th of May, 2013

Top to bottom:

eiffel64 – Fashion , Glam & Music  Madelina Horn “ Cemetery 107 “ by Unbound Photo

La Fresa Transmission Line, 1931, G. Haven Bishop 

untitled film still

"Last Year In Marienbad" (1961)

 

This months favorite RSS to follow:

http://architectureofdoom.tumblr.com

http://cabinporn.com

http://redsulfur.tumblr.com

https://64eiffel19.wordpress.com

http://www.fashionising.com

13 05 2013
#3321

GRAVETEMPLE @ ROADBURN 2013 (rig courtesy of Tos)


screen_shot_2013_04_19_at_9_57_29_pm_2.jpg

...

13 05 2013
#3320

TECTONICS GLASGOW 2013 / BBC Scottish Symphony orchestra / LUCIER "Criss-Cross" / DUMITRESCU "Elan & Permanence" / AVRAM "Metalstorm" (II) evidence


bbc_1.jpg


bbc_2.jpg


bbc_3.jpg


screen_shot_2013_05_13_at_9_01_18_pm.jpg


screen_shot_2013_05_13_at_9_02_50_pm.jpg


tumblr_mmopmipmi31rg98jeo5_1280.jpg


tumblr_mmopmipmi31rg98jeo4_1280.jpg


tumblr_mmopmipmi31rg98jeo6_1280.jpg

Thank you to Ilan, Tectonics, BBC, Master Dumitrescu, Alvin Lucier, Andrew Trennick, Ana-Maria, Oren, Fritz, Heather, David, Joe, Hildur, Gisèle, Stuart and the amazing stage / technical crew at Glasgow City Hall (Russell & co.) for the amazing weekend. A big mind changer for me personally. Much gratitude.

http://www.tectonicsfestival.com/glasgow/

08 05 2013
#3318

Video: Todd Burns interviews SOMA for RBMA NYC, discussion with the students ... great experience!

WATCH THE VIDEO HERE: http://www.redbullmusicacademy.com/lectures/stephen-o-malley

(I cannot embed it due to Vimeo restrictions).

I'm sure to get even more snarky sarcastic comments for this one... frankly used to that!

This was a really great experience! Really appreciated being able to do this and speak with the many of the younger generation of musicians at RBMA, who are fucking totally tuned in and smart as hell by the way... right on! Concerts were great as well. Thanks everyone in NY who came out and participated in what was a great week. Cheers.

 

 

07 05 2013
#3317

New on Unkant Publishing "Cosmic Orgasm: The Music of Iancu Dumitrescu" ed. Andy Wilson


screen_shot_2013_05_07_at_11_32_09_pm.jpg

Cosmic Orgasm: The Music of Iancu Dumitrescu
ed. Andy Wilson

ISBN: 978-0-9568176-5-5
Published: Apr 2013
402 pp 

Contents

Ben Watson: Why The AMM Says ‘Listen to Dumitrescu!’    1
Ben Watson: Spectrum Festival Preview    3
Ronsen, Peyret, Leroy: Iancu Dumitrescu - Acousmatic Provoker    7
Ben Watson: Statement at Conway Hall, Spectrum 2008    38
In Resonance with Iancu Dumitrescu and Ana-Maria Avram     39
Out to Lunch: Our Kinetic Kynicism Knows No Bounds    84
Iancu Dumitrescu: On the Inside Looking In    87
Tim Hodgkinson Interviews Iancu Dumitrescu    95
Tim Hodgkinson: A Note on Phenomenology    107
Costin Cazaban: An Adventure in Experimental Music    109
Eugene Thacker: Pulse Demons (extract)    125
Andy Wilson and Ben Watson: The Music of Iancu Dumitrescu     131
Ben Watson: Spectral Music at the Beginning of the 21st Century    159
Guillaume Ollendorff: At the Heart of Chaos    163
Guillaume Ollendorff: The Society of the Spectrum    171
Tim Hodgkinson: The Tasks of the Composer    193
Iancu Dumitrescu: Reply to Tim Hodgkinson    207
Tim Hodgkinson: Reply to Iancu Dumitrescu    213
Ryan Kirk: Interviews Dumitrescu    215
Ana-Maria Avram: Composer From Bucharest, Romania    237
Iancu Dumitrescu: Biographical Notes    245
Iancu Dumitrescu: Catalogue of Works    253

Pressbook    263
Discography    285
Related Recordings    359

Index    369

Press Book
This composer appeals to the intellectual avant garde, as well as noise mongers. Dumitrescu writes a lot of excellent music for contrabass, andAulodie Mioritica (Gamma) is a concerto for said solo instrument and chamber orchestra. There are some extended techniques: whistling harmonics, snap pizzicatos and multiphonics, in both the solo and accompaniment parts, along with a colourful battery of percussion instrument. The work is severe; intense, raucous, and very exciting Ursa Mare (Grande Ourse), for tape and an ensemble (again the Hyperion Ensemble, conducted by the composer), includes a huge percussion section. 
     Like all of Dumitrescu’s music, the focus is on texture and a fascination with bizarre, unorthodox noises, though this work is considerably more restrained than most of his other compositions. The sounds that he creates both acoustically and electronically are like some strange hybrid of whale calls and grinding metal.
Dean Suzuki
The important Romanian thinker Petre Tutea, a kind of guru both for the philosopher E.M. Cioran in his youth, and for the historian of religions Mircea Eliade, used to say in the 60’s, just after coming out of prison, that today, now that we can concentrate enormous energies onto small areas, there are no longer great and small powers. Applied to contemporary music, this idea could be read as an equality of opportunity amongst compositional schools from countries previously unrecognised on the level of Europe as a whole. And this is particularly true of the Romanian school which had seemed very cut off from the continental experimental music field. 
      As Olivier Messiaen noted as early as the first Warsaw Festival of Contemporary Music, experimental music, promoted in France by such as Boulez and Schaeffer, finds an exceptionally fruitful soil in Romania under the uncontested leadership of Iancu Dumitrescu. But obviously this experimental school of composers is not the first manifestation of Romanian composed music. Emerging under the influence of Byzantine art, absorbing the sediment of popular ritual and magical traditions, it enters the European circuit in the 20th century through the work of George Enescu, whose major achievement was to integrate great Romanian music into a universal musical culture, establishing for those who came after him a model of composition and interpretation both paradigmatic and implicit. The theoretical and formal achievements of Enescu form a link between the modern and the archaic, and this synthesis is repeated and perpetuated both by the post-War musicians and those of the 1930’s and their disciples of the 60’s, amongst whom Stefan Niculescu, Aurel Stroe and Anatol Vieru laid out the milestones for the new wave of creators. This period is one of original research, even if orientated mainly to serialism. Three tendencies dominate: the exploration of the principle of heterophony (Niculescu), the mediation of traditionally organised layers, with palimpsest used as an analogical model (Stroe), and the neo-modal researches of Vieru. 
     For the next generation, it is spectralism. Almost at the same time as the French composers of the Itineraire group (if not before them) the young Romanian school of composition opens up the new world of the interiority of sound. Whilst the French musicians, not so dissimilar to their serialist predecessors, concentrate on a scientific treatment of resonance, the Romanians penetrate into the spectral universe, finding legitimacy in a consensus newly rediscovered after numerous sterile diversions into the (serial) avant garde. And this new, and paradoxically immemorial, vision, in which resonance affirms itself as the primordial source of archetypes, bursts onto a Romanian musical scene revitalised by such as Ana-Maria Avram, Horatiu Radulescu and Iancu Dumitrescu, whose musics have long since achieved recognition in the Europe-wide field of experimental music. 
      As Harry Halbreich and many other musicologists of note have established, Iancu Dumitrescu stands at the cutting edge of the whole range of new tendencies, representing a musical avant garde uncorrupted by compromise – in which the taste for invention merges with intellectual speculation in the philosophical sense of the word. As the outstanding figure in Romanian composed music, Iancu Dumitrescu developed from the 1970’s the concept of acousmatic – a pre-Socratic term that refers to the art of concealing the sound source to render a message more mysterious. Dumitrescu’s approach to acousmatics consists in associating in the mind the metaphors engendered by the concealment of sound sources, “drawing the listener towards new revelatory spheres of a cryptic adventure” as the Berlin musicologist Robert Zank put it. Among the French acousmaticists of the INA-GERM group, however, the concealment of the sound source is purely a matter of physics. 
     Works like Cogito / Trompe l’Oeil / Pièrres Sacrées / Harryphoniesbear witness to the fact that with Dumitrescu sound prospecting is a spiritual adventure. Meanwhile, in the Médium or Movemur et sumus series, composed for different string instruments, the composer approaches spectralism in terms of how to get resonance, revealing new modalities of interpretative use of the classical instruments. Synthesising – within the limits of the possible – the different sounds made by artisanal classical instruments with sound objects produced electronically or naturally, Dumitrescu’s works propose a ‘diagonal’ reconfiguration of music already taken up and assimilated in France, Germany, England and other countries. The countless recordings, public concerts and CDs now available in the Western repertoire testify to the calibre of the Romanian composer. 
George Astalos, tr. Tim Hodgkinson.

http://www.unkant.com

| 1 | 2 | 3 |

[ARCHIVE]

ideologic.org | ©2017