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www.tura.com.au
Decibel Werner Dafeldecker & Valerio TricoliEtica
Scale
VariableS
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012
28 March
17 April
24 April
Tura New Music presents
Design by C
hil3
The Complete John Cage Variations I – VIII
John Cage’s Williams Mix Extended
Hackett Hall Gallery Western Australian Museum
Perth Cultural Centre
Roger Smalley Variations on a theme of Chopin
James MacMillan Fourteen Little Pictures
György Ligeti Chamber Concerto
4/16/12 9:25 PMCaged animals unleashed: Decibel's John Cage odyssey - Classical Music - Limelight Magazine
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Decibel undertakes the first complete performance ofCage's colossal Variations for the composer's centenary.
On the back of a recent, successful tour to Europe, Perth-based new music ensemble Decibel this week stages a never-before-attempted complete performance of John Cage’s colossalVariations to celebrate the centenary of the maverickcomposer’s birth.
One can only imagine the dignified self -righteousness withwhich a young John Cage might have looked into the eye of histeacher, Arnold Schoenberg, and defiantly uttered the words,“Then I shall dedicate my life to hitting my head against a brickwall.” The rebellious upstart had been told by his oldercolleague that, as someone with no feel whatsoever forharmony, Cage's career as a composer would be doomed, andpursuing one would repeatedly bring him up againstunsurmountable obstacles.
It was perhaps this crucial moment that galvanised Cage andset him on his path as a musical revolutionary. Far from beingdeterred, as any lesser mortal may have been, he went aheadto forge a new future for classical music by subverting old,comfortable truths on the nature of the artform and calling intoquestion the role of the composer.
One hundred years after his birth, Cage’s ideas still boggle themind for their intellectual breadth and limitless vision. Evereager to push the envelope, Cage’s tireless curiosity took himon a voyage through numerous musical worlds – the preparedpiano, non-standard use of instruments, multi -media works and,perhaps most importantly, aleatoric or chance music –influencing generations of composers and sound artists afterhim.
To mark Cage’s 100th birthday, Perth-based new musicensemble Decibel are celebrating his genius with the first-evercomplete rendering of his Variations . Decibel premiered theworks at the Goethe Institut in Palermo, Sicily early this year asa part of their first European tour, impressing the audience withtheir use of mobile and graphic scores and innovative computerprogramming skills. They repeated the performance last monthat the Western Australian Museum in Perth, as the firstinstalment of TURA New Music’s Scale Variable chamberconcert series.
The Variations are a gargantuan set of eight separate works,each a complex world unto itself and based on distinct aleatoricpremises. Cage’s scores are by turns graphic and textual andalways painstakingly difficult to prepare, requiring meticulousinterpretative work. In Variations I, II and III, scores consist
Caged animals unleashed: Decibel's John CageodysseyBy Ilario Colli on Apr 12, 2012 (4 days ago) filed under Classical Music | Comment Now
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4/16/12 9:25 PMCaged animals unleashed: Decibel's John Cage odyssey - Classical Music - Limelight Magazine
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entirely of points, lines and circles on plastic transparencies.The performers of Variation V are instructed to use anastronomical chart. And Variation IV, often described as thepivotal work in the series, plays with the idea of soundspatialisation, including the distribution of its sound sources as apart of the score.
Key to Decibel’s take on the Variations is the realisation thatmany of the works’ chance operations could be executed usingprogramming software in a way that was both musicallysatisfying and faithful to Cage’s vision. Programming languagesMax/MSP and Java become the tools that enabled Cage’smusical indications to leap from plastic transparencies onto alarge screen as organic, graphic representations moving in realtime, that both performers and audience can follow as thepieces unfold. In this way, Cage’s inscrutable scores which, inother performances, often need to be thoroughly annotated, canbe instantly and intuitively interpreted.
This distinctive approach to performance is not new to Decibel.Last year, they premiered The Talking Board , a work co-composed by two of the ensemble’s members (artistic directorCat Hope and Linsday Vickery) for which they developed theprogramming since adapted for the interpretation of the starchart in Variation V. And their innovative mobile scores are bynow an established ensemble trademark, having alreadyfeatured in numerous concerts.
In the short time since its inception in 2009, Decibel has quicklymade a name for itself as one of Australia’s most cutting-edgenew music outfits. Its members (Hope, Vickery, Stuart James,Malcolm Riddoch, Tristen Parr and Aaron Wyatt) are committedto the realisation of an inclusive sonic artform that defiesclassification as either sound art, music or installation. Theywere awarded last year’s AMC/APRA Art Music InauguralAward for Excellence in Experimental Music and, in 2010, theyreleased a CD of original music by Hope and Vickery entitledDisintegration: Mutation.
On their recent tour to Europe, they played to enthusiasticaudiences in Belgium, Holland, Germany and Italy. Any senseof Australian inferiority they could have experienced in the greatmotherland of classical music was quickly shrugged off as theirtalents were validated by some of the giants of the Europeannew music scene, including Armin Kohler, director of theDonaueschingen festival. “He really engaged with us”, saysDecibel artistic director Cat Hope. “He loved our programmingstyle and found it very different from anything anyone else wasdoing. It was very affirming.”
It is with cemented self -confidence, then, that Decibel returnedfrom Europe to perform Cage’s Variations at the WA Museumin late March. Now, they will take the works to The Cage in Us,a Brisbane festival on April 12–14 celebrating Cage’s life andwork. A program more appetising to the sonic adventurer ineach of us could hardly have been dreamt up: one ofAustralia’s most vigorous new music ensembles playing one oflast century’s most audacious works to honour the centenary ofthe American avant-garde’s greatest iconoclastic.
In all this, I suppose, we have good old Schoenberg to thank. Ifhe hadn’t told the cold, hard truth, bursting poor John Cage’sbubble and, ultimately, reinforcing his resolve to go out thereand be himself – not a composer, that is, but more an inventorof sound ideas – we might have missed out on some of the20th century’s most exciting musical developments and, well,we wouldn’t be here today celebrating his centenary.
Since we only had 13 composers,we rolled Schumann's death(madness) and Schubert's (syphilis)into one with Hugo Wolf, whosuffered symptoms of both.
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4/16/12 9:25 PMCaged animals unleashed: Decibel's John Cage odyssey - Classical Music - Limelight Magazine
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Decibel performs the complete Cage Variations at TheCage in Us, a festival celebrating the music and life ofJohn Cage, at the Judith Wright Centre of ContemporaryArts in Brisbane, this Saturday April 14 at 7.30pm.
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4/23/12 7:53 AMTribute to the master of discord | The Australian
Page 1 of 3http://www.theaustralian.com.au/arts/tribute-to-the-master-of-discord/story-e6frg8n6-1226328157422
The AustralianTribute to the master of discord
by: Martin BuzacottFrom: The AustralianApril 17, 2012 12:00AM2 comments
American composer John Cage would have been 100 this year.Source: Supplied
MUSICThe Cage in Us: A Festival Celebrating the Centenary of John Cage's Birth. JudithWright Centre of Contemporary Arts, Brisbane, April 12-14.
THINK avant-garde composers, and John Cage will probably be the first to come tomind.
The eccentric American, notorious for his 4'33" consisting entirely of silence, would haveturned 100 this year, and Brisbane's Clocked Out ensemble has honoured the occasion with athree-day celebration of the hero of 1960s-style "happenings", where sounds are generated atrandom, independent of the will of the composer.
Few works have dated as quickly as those of Cage, and the banks of old reel-to-reel taperecorders, transistor radios and theremins still in use like Cuban cars mark him as the first
4/23/12 7:53 AMTribute to the master of discord | The Australian
Page 2 of 3http://www.theaustralian.com.au/arts/tribute-to-the-master-of-discord/story-e6frg8n6-1226328157422
20th-century composer requiring historical performance practice.
Yet Cage remains an undisputed innovator in the field of theory. His notoriety has been earnednot so much for his own music, much of which to the layman remains utter rubbish, but in hisoften profound influence on subsequent, more communicative musical performers such asBjork, Brian Eno and anyone who has ever used telegraph wires as a backing band.
As his erstwhile teacher Arnold Schoenberg said, Cage wasn't really a composer at all but an"inventor of genius", and the success of this always stimulating, sometimes infuriating festivalcame from its focus on how those inventions are being transformed into 21st-century practice.
The highlight was Lawrence English and Scott Morrison's majestic re-creation of the score forCage's only film, One 11, where the sweeping electronic soundscape occasionally resembledthe middle section of Pink Floyd's Echoes.
Sweden's Kroumata Percussion played a ravishing version of Cage's Music for Carillon, usingfour distanced glockenspiels to create a disembodied chiming, most closely approximated innature by a colony of bellbirds.
European visitors Valerio Tricoli and Werner Dafeldecker expanded Cage's Williams Mix, withthe new version sounding bigger and better than Cage's manually spliced tape of the original.
The aptly named Decibel ensemble from Perth presented all eight of Cage's Variations, whichon paper was an important overview of Cage's career, but turned into a merciless 80-minuteaural assault.
Every night began with a Cagean "circus", where instrumental music and performance piecesoccurred simultaneously, as he directed them to be, perhaps to distract from their frequentpreposterousness.
In the end, the seriousness of intention within the curatorial team led by Erik Griswold andVanessa Tomlinson won out, and the festival provided an intelligent contribution to theperennial debate as to whether Cage was the musical Messiah or just a very naughty boy.
MUSICThe Cage in Us: A Festival Celebrating the Centenary of John Cage's Birth. Judith WrightCentre of Contemporary Arts, Brisbane, April 12-14.
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Wish this stuff didn't make me angry. of Brisbane. Posted at 2:01 PM April 17, 2012
Total simpleton, obviously hasn't read into Cage's works or philosophy.The works were performed incredibly, it's a shame the reviewer wasn't ableto appreciate them beyond his brief feeling of familiarity with stoner rock.Worthless review, basically paraphrases to 'I really disliked all of the avantgarde elements (they occasionally infuriated him even), but this work bythese ambient guys (which wasn't even a Cage piece) reminded me of PinkFloyd and that was the clear highlight. Can't even tell if he actuallyattended the concerts, it was a very rare chance for the evidently quite largefollowing of Cage and the American experimental tradition in Brisbane tosee many rarely performed works executed by internationally recognisedmusicians and it didn't disappoint. Some of the most rewarding listeningexperiences that I've had recently and I'm very grateful that something likethis was able to happen thanks to the hard work of Clocked Out, LawrenceEnglish, Joel Stern and others and in spite of the thinly veiled prejudices ofconservative reviewers like this who have trouble reconciling their tasteswith musical events that are more than 50 years past.
Cat Hope of Perth, Western Australia Posted at 11:37 AM April 17, 2012
Whilst i am glad this fantastic festival was reviewed, i was suprised to readthe Decibel concert described as an "merciless 80-minute aural assault".Given that five of the eight variations presented were delicate, quiet works -i feel this is rather a misrepresentation of what happened in the concert.
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Desire and Faded Utopia’s New works from Australia … during the 26th ‘Days for New Music’ series in Rottenburg, Germany. What could possibly be ground-breaking electronic experiments presented on Friday at the Rottenburg Zehntscheuer, by Perth ensemble Decibel’. THOMAS ZIEGNER Rottenburg. Interrupted by many pauses of different lengths and long oscillating decrescendos, Cat Hope’s ‘Longing’ is full of captivating and expressive glissandi. On the outer layer of what is an artfully produced work that varies in density (produced by soft sticks on a big drum), are cello and viola drawing grand glissandos while Cat Hope’s voice, with shining vowels, repeats the title of the piece ‘Longing’ throughout. The composer, flutist and director of the Decibel Ensemble Cat Hope calls the system used in this piece ‘Automated score reading’; the display of the graphic score via computer screen, stringing along from left to right with simultaneous control of the tempi. Beats, bar lines and metronome markings have been made redundant, making a maximum variability of tempo and coherency in the five voices become possible. This is probably ground-breaking for complex graphic scores. For the opera ‘I Opal’ by Hans-Joachim Hespos, a score-manager for the orchestral part was required to tediously add bar lines over whole opera manuscript to make the work playable. The ensemble paid homage to Percy Grainger (1882-1961), an Australian New Music progenitor (even though he actually hardly spent much time in Australia) by opening the concet with the 1936 piece‘Free Music No.1’. They performed the study in glissandi on four iPhone-Theremins in a more dynamic and much subtler way than than the version available on YouTube. ‘The Talking Board’ performed and co-produced by Cat Hope and Decibel member Lindsay Vickery (clarinet and programming) was a piece for 4 instruments and live-electronics. Four coloured circles, one for each instrument, were made visible for the audience, as they wandered over a graphical interface that consisted of 10 of Hope’s and Vickery’s collected images that included photographs of planets, a homage to Franz Liszt, and drawings made by the two composers. The instrumentalists found their textural, pitch and dynamic bearings from the directional movement and speed of the coloured circles’ motion. Soft and aggressive, or pure or noise-like selections of sounds were affected by the associations of the image content to the circles. The ‘Talking’ or ‘Ouija’ board was enthusiastically applied for spirititual sessions in the 1920’s. Spirits were supposed to give meaningful answers through the navigating of objects on a board.
In this case the ‘only spirits were in the machinery’ (as Hope and Vickery point out in their program notes), and were quite subservient in saving a collective improvisation from disintegrating into randomness. A strict logic of decomposition marked Vickery’s “Ghosts of Departed Quantities”, a piece for bass clarinet, bass flute, piano cello and electronics, inspired by the anti materialistic epistemologist George Barkley. The distances between staves get smaller and smaller until, as with a ‘devil’s ladder’, ascent is no longer possible, not unlike Gyorg Ligeti’s piano etude ‘Escalier du Diable’. Malcolm Riddoch (electronics) created the delicate “Variations on Electro Acoustic Feedback”, featuring incredible and fascinating stereophonic sound effects hitherto unknown by productively using the often feared uncontrollable ‘Larsen acoustic feedback effect’. This was followed by an impressive epitaph for the mental institution West Park, liquidised in the Thatcher area, in a work of the same name written by Samuel Dunscombe. Another work infiltrated with spooky reminiscences, creating a fragile balance “between two states of stability” was in Julian Day’s “Beginning to Collapse.” The concert concluded with enthusiastic applause.
Classical performers playextreme sounds The six member Australian ensemble ‘Decibel’ present unusual sound constructions. By Guenter Vogel
BIBERACH – ‘Decibel’ is name of the group that performed on Tuesday night in the Town Hall. ‘Decibel’ may refer to their volume, yet apart from a few exceptions, the sound level was well contained. The program focuses on works which use playback processes as part of the score, making use of portable cassette players, CD players, tape decks as well as laptops. One of the classic definitions of ‘music’ describes music as an art that moves the soul through the organized structure of sound and allows the perceptive mind to rise to an aesthetic realm of thought. Listening to several of the Australian compositions, one could argue that point. Some results of the electronic actions are pleasant to hear; yet the performers delightfully presented cacophony as well. The onset of “Another Noisy Lullaby” by Warren Burt is very beautiful, with this lullaby being anything but noisy. Smooth, quiet sounds are developing in a delicate and balanced way, producing nothing short of a harmony within soul rather than in the music. Tonal manufacturing as music ‘Music for Airports’ by Brian Eno can be perceived like this: the diversified main theme becomes a hovering, iridescent ‘low volume’ kind of music. The harmonic responsiveness of the parts creates music from free from tonal fabrication. “Electronic Revolution” by William Burroughs creates a hubbub create by playback of incomprehensible syllables, producing a soundscape similar to a big party where everyone talks and no one understands a word. The program describes the process as ‘sampling and manipulating’ the words. ‘Prima Vista’ by Mauricio Kagel starts with beautiful singular tonal patterns. They do not unfold however, rather they are rudely brushed aside by diametral opposing sound rudiments; as well as a sudden painful bleating of the bass clarinet. There is no cooperation in this work, only performing ‘against each other.’ ‘Lingua Ignota’ is composition by Decibel. Each member tries in a different way - with the utmost effort - to avoid any ‘aesthetic ‘musical sound. It whistles and warbles, it quacks and toots; the bass clarinet cries out like a human. Audience endures sirens
During the last piece, ‘Ever Present’ by Alvin Lucier, the audience was required to listen to a siren-like, loud electronic continuous tones. There is no harmony whatsoever here. Altogether this was an interesting concert: new fields of resonance, and ways to producer them; the establishment of new associations; the otherwise never heard extreme tonal possibilities of violin, cello, bass clarinet and flute. The dedicated audience of approximately 40 paid tribute with a fierce round of applause. Translation by Russya Connor.
! «Far Away Ideas» – ferneIdeen: so nennen die Musiker des australi-schen Ensembles Decibel ihr Programm,das sie eigens für ihre erste Europa-Tour-nee konzipiert haben. Sie führte von Gent(Belgien) über Berlin, Biberach, Rotten-burg bis nach Catania und Palermo (Ita-lien). Und fast scheint es, als ob die pro-grammatische Auswahl ausschließlich aus -tralischer Kompositionen doch sehr subtilmit Down-Under-Assoziationen aus eu -ropäischer Perspektive spielen sollte: ImKonzert von Decibel etwa bei den Rot-tenburger Tagen für Neue Musik, präsen-tiert von Donaueschingen-Chef ArminKöhler, überwiegen ruhige, statisch-flä-chige, stille, meditative, murmelnde, natur-mystische Klänge.
Das mag auch an Percy Graingers FreeMusic No. 1 (1936) für vier Theremins lie-gen, einer Komposition in gleitenden Ton-höhen, die den in Australien aufgewachse-nen Folksong-Sammler auch als Experi-mentator in Erinnerung bringt und mot-toartig am Beginn des Programms steht:Die Idee einer von Tonskalen und Rhyth-men befreiten Musik («beatless»), so schriebGrainger später, habe ihn früh schon be-schäftigt – bereits zu Zeiten, da er als klei-ner Junge mit elf, zwölf Jahren die sonnen-beglänzten Wellen des Albert Park Lake beiMelbourne betrachtete (heute werden rundum den See Formel-1-Rennen ausgetra-gen). Das Ensemble Decibel benutzt beider Aufführung nun nicht die klassischenTheremins, wie sie 1919 von dem Russen
Leon Theremin (Lew Termen) entwickeltworden sind, sondern zeitgemäße iPhone-Theremins. Wie auch immer: Decibel be-schwört Graingers Glissando-Studie vor-wiegend im Pianissimo-Bereich als natur-haft schwebende, stufenlos fließende, ent-materialisiert auf und ab gleitende, poly-phon ineinander verschlungene, geister-hafte Sirenenmusik.
AKUSTISCHE UND ELEKTRONISCHEKLÄNGE «SIDE BY SIDE»
Decibel, 2009 in Perth gegründet, gehörtzu den führenden Neue Musik-Ensemblesin Australien. 2011 ist es mit dem «Inaugu-ral Award for Excellence in ExperimentalMusic» der australasiatischen Musikrechte-
52
DUNKLE, FERNE SCHATTENKLÄNGE ELEKTROAKUSTISCHE ABENTEUER: DAS AUSTRALISCHE ENSEMBLE DECIBEL ERSTMALS AUF EUROPA-TOURNEE
von Otto Paul Burkhardt
Foto
: Lis
a B
usin
ovsk
i
aus: Neue Zeitschrift für Musik 3/2012, © Schott Music, Mainz 2012
PORTRÄT !
53
Organisation APRA ausgezeichnet wor-den. Die Gruppe hat bereits 17 neue Werkebei australischen Komponisten in Auftraggegeben. Dennoch, von einem spezifischenSound in der zeitgenössischen Musik desfünften Kontinents will Cat Hope, die Lei-terin des Ensembles, nicht sprechen: zukomplex sind die globalen Vernetzungenund Wechselwirkungen geworden. Decibelspielt Stücke von Gruppenmitgliedern, vonaustralischen Komponisten wie auch Werkedes internationalen zeitgenössischen Re-pertoires.
Das zentrale Anliegen von Decibel, soformuliert es das Gruppen-Manifest, isteine Musik, in der akustische und elektro-nische Instrumente gleichberechtigt ne-beneinander vertreten sind – «side by side»,wie Cat Hope sagt. Die Mitglieder bringenErfahrungen aus ganz verschiedenen Be-reichen ein: Klassik, Videokunst, Klangin-stallation, Improvisation, Elektronik, Pro-grammierung, Noise, Rock. Ziel ist zudemdie Auflösung der Grenzen zwischen «soundart, installation and music». Der Decibel-Kosmos umfasst – neben den australischenKomponisten – Ennio Morricone ebensowie John Cage, Brian Eno und MauricioKagel, Velvet Underground und Alvin Lu-cier, Laurie Anderson und William Bur-roughs.
Beim Konzert in Rottenburg wird dasKonzept auch visuell greifbar: AkustischeInstrumente wie Bassklarinette, Cello, Alt-flöte, Viola, Gitarre und Klavier sind hiergleichwertig präsent wie elektronische,etwa besagte iPhone-Theremins und sechsLaptops. Decibel, bestehend aus Cat Hope,Lindsay Vickery, Stuart James, Tristan Parr,Malcolm Riddoch und Aaron Wyatt, be-greift sich auch als Forscherteam und be-schäftigt sich mit den Möglichkeiten elek-tronischer Partituren: The Talking Board(2011) ist eine grafisch notierte, vom Pub -likum auf Video mitvollziehbare Kompo-sition der Gruppenmitglieder Cat Hopeund Lindsay Vickery – der Titel spielt aufdas in Spiritistenkreisen beliebte «Hexen-brett» an, mit dem man Kontakt zu denGeistern der Toten aufnehmen wollte. Er-kundet werden hier nichtlineare Nota -tionsformen – denn die Partitur, bestehendaus Mars-Ansichten, Liszt-Fotos und Zeich-nungen, kann von den Musikern aus allenRichtungen durchquert werden: Live ent-steht bei Decibel daraus eine jeweils ein-malige Klangreise, die zwischen Compu-terspiel, assoziativer Musik und Kollektiv -improvisation vermittelt.
Mit einer grafischen Partitur, die als«scrolling score» mitgelesen werden kann,arbeitet auch Cat Hopes Longing (2011) –eine Studie, die Interaktionen von Glis-sandi und liegenden Klängen untersucht:Die Realisation zeigt, wie kleine Verände-rungen in einem ansonsten statischenSound-Umfeld zu großen Ereignissenwerden.
KLANGVERSTÄRKTE TRANCHIERMESSER
Neben weiteren Beiträgen von Ensemble-Mitgliedern präsentierte Decibel in Rot-tenburg auch Kompositionen der zeitge-nössischen australischen Musik, etwa WestPark (2011) von Samuel Dunscombe, dermit «field recordings» von tasmanischenWäldern, deutschen Bahnhöfen oder USAir Force Bases arbeitet und konzeptuellreale, instrumentale und elektronische Klän -ge miteinander verschmilzt. West Park inLondon war bis zur Schließung Mitte der1990er Jahre eine der letzten großen psy -chiatrischen Anstalten alten Zuschnitts –und Dunscombes Partitur spielt mit Ein-drücken beim Gang durch die verlassenenKorridore der Anstalt: Decibel fächert mitBassflöte, Bassklarinette und Elektronikeine Welt subtiler, unheimlicher Atemge-räusche, Artikulationsversuche und Schat-tenklänge auf, die etwas erinnern, das nurnoch erahnbar ist.
Allerdings: «Far Away Ideas», ein Pro-gramm, das auf Reflexion, auf lange Klänge,auf den «Flow» elektroakustischer Soundsabhebt, spiegelt bei weitem nicht die ganzeBandbreite des Decibel-Repertoires wider.Unter dem ironischen Programm-Titel«Pretty Things» präsentieren die Musikerauch makabre Skurrilitäten wie Kuklinski’sDream von Cat Hope, eine Studie über denMafia-Massenmörder Richard «The Ice-man» Kuklinski, in der klangverstärkte Tran-chiermesser verwendet werden. Häufigschlägt Decibel auch die Brücke zu Pop-und Filmmusik, covert etwa den Beatles-Hit Nothing Is Real (Strawberry Fields), setztBrian Enos Music for Airports als Perfor-mance mit Tonband-Loops und Live-In-strumenten um und bezieht sich im neuarrangierten Morricone-Song Ballad ofSacco and Vanzetti auf Morricones Avant-garde-Anfänge, auf sein Interesse an Im-provisation und elektronischen Klängen.
Die konzeptuelle Bandbreite von Deci-bel ist weiter, offener, überraschungsreicherals die mancher europäischer Neue Musik-
Ensembles. Und aus den Programmen lässtsich eine gewisse thematische Vorliebe fürdas Flächige, Ferne, Entlegene, Dunkle,Geräuschhafte ablesen. Kein Wunder, dassCat Hope sich für niederfrequente Klängeinteressiert (auch in ihren Ensembles «AbeSada» und «Australian Bass Orchestra»), beidenen Hören in körperliches Erleben um-schlägt. Und kein Wunder, dass sich einweiteres Programm von Decibel, «A Voicefrom the Dark Space», mit düsteren, stillen,mysteriösen Landschaften beschäftigt. Dochebenso charakteristisch für dieses Ensembleist ein wissenschaftlicher Erkundungsdrang– in Palermo führte Decibel eine kom-plette Neuerarbeitung der Variations I –VIII (1958-1976) von John Cage auf, einambitioniertes Projekt, bei dem Decibelhistorische Analog-Geräte mit aktuellentechnischen Möglichkeiten verbindet. DieArbeiten hierzu sind Thema einer Studiefür die Western Australian Academy of Per-forming Arts (WAAPA). Die Konzerte desaustralischen Ensembles in Europa dürftenwechselseitig erhellend gewesen sein –auch im Sinne eines interkontinentalenAustauschs, bereichernd für das australischeEnsemble wie auch für die europäischeNeue Musik-Szene. !
! INFOCD! Disintegration: Mutation, hellosQuarerecordings (2011); dem-nächst: Stasis Ecstatic
Buch! Cat Hope (Hg.): Decibel: Audible Designs, Perth Institute of Con-temporary Arts (PICA) 2011
online! decibel.waapamusic.com
«The Talking Board», 2011 – die grafisch notierte Komposition kann vom Pub likum auf Video mitvollzogen werden
Schott: New Magazine for New Music 3/2012 DISTANT, DARK, SONIC SHADOWS AND ELECTROACOUSTIC ADVENTURES: THE AUSTRALIAN ENSEMBLE DECIBEL ON THEIR FIRST EUROPEAN TOUR By Otto Paul Burkhardt
‘Far Away Ideas’ is the name of the program the Australian ensemble Decibel devised especially for their first European tour. They travelled from Gent (Belgium) to Berlin, Biberach to Rottenburg (Germany), and Catania to Palermo (Italy). It almost seemed as though the selection of Australian only compositions might subtlety play with the European perception of ‘down under’. Showcased by Donaueschingen director Armin Koehler, Decibels’ concert at the ‘Rottenburger Tagen für Neue Musik’ (Rottenburg new Music Days), presents predominantly quiet, static, flat, meditative, murmuring and almost mystical sounds. Percy Grainger’s composition Free Music No. 1 (1936) for four theremins showcased their gliding pitches, and opened the program with a strong concept. It commemorates the Australian born Folksong collector as an experimentator as well. Grainger stated that from an early age the idea of a music liberated from musical scales (or pitches) and rhythm (“beatless”) occupied him; even as a little eleven year old boy staring at the sun kissed waves at Albert Park Lake near to Melbourne. (In recent times this lake has become the venue for the Formula 1 Racing in Australia). Decibel presented not only classic Theremin sounds, as developed by the Russian Leon Theremin, but using a more recent development, the iPad-‐Theremin. Decibel evokes Grainger’s glissandi-‐study as a naturally floating, continuously gliding, dematerialized, polyphonically intertwined, spectral song of sirens. ACOUSTIC AND ELECTRONIC INSTRUMENTS “SIDE BY SIDE” Decibel, founded in 2009, is one of the leading new music ensembles in Australia. In 2011 APRA (the Australaisan Society for Performing Rights) awarded them the prestigious Inaugural Award for Excellence in Experimental Music. So far the group has commissioned 17 new works by Australian composers. Nevertheless, Cat Hope, the director of the ensemble, dismisses the notion of a specific ‘fifth continent sound’ in contemporary music, as global networks and musical interdependency create complex associations. Decibel repertoire includes compositions by group members and other Australian composers, as well as international contemporary music. Expressed within the group's manifesto, Decibel’s central concern is a music that equally represents acoustic and electronic instruments alongside one another -‐ "side by side", says Cat Hope. The members combine their experience from a variety of domains: classical music, video art, sound-‐installation, improvisation, electronics, programming, noise, and rock. The aim is furthermore dissolve boundaries between "sound art, installation and music." The Decibel cosmos includes, in addition to the Australian composers, Ennio Morricone, John Cage, Mauricio Kagel, Brian Eno, the Velvet Underground, Alvin Lucier, Laurie Anderson and William Burroughs. The concert in Rottenburg made their concept visually tangible: the acoustic instruments such as bass clarinet, cello, alto flute, viola, guitar and piano are as equally present as the electronic instruments, such as the iPad-‐Theremins and six laptops. Decibel, consisting of Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Malcolm Riddoch and Aaron Wyatt, see themselves as research team, engaged with the possibilities of electronic scores. In The Talking Board (2011) – the audience can follow the graphical composition (by the group members Cat Hope and Lindsay Vickery) on a video screen. Its title refers back to the “Talking “ or Ouija” board, used in applied in Spiritual circles to make contact with spirits of the dead. The non linear notation -‐ the score actually consists of
images of Mars, photos of Liszt and drawings-‐ can be crossed by the musicians in all directions: during a live performance Decibel creates a one-‐time musical journey that mediates between computer-‐games, associative music and collective improvisation.
Cat Hope’s Longing (2011) also works with a graphic score, which is read as a "scrolling score". It is a study of the interaction between glissandi and drone: the realization demonstrates how small changes in an otherwise static sound environment can transform into large events. SONICALLY ENHANCED CARVING KNIVES In addition to contributions by the ensemble members, Decibel, presented other contemporary compositions of Australian music for their concert in Rottenburg; an example being Samuel Dunscombe’s West Park (2011). He mainly works with "field recordings" (of Tasmanian forests, German train stations or U.S. Air Force bases) and fuses sounds conceptually, instrumentally and electronically. West Park was one of the last large, old style psychiatric institutions in London, until its closure in the mid-‐1990s. Dunscombe’s composition plays with the impressions of walking through the deserted corridors of the institution. With bass flute, bass clarinet and electronics, Decibel evokes a world of subtle, eerie breaths, noises, trials of articulation and sonic shadows, reminding of how some things can be only vaguely remembered. Although the program "Far Away Ideas" concentrates on introspective long sounds and the "flow" of electro-‐acoustic sounds, it is just one aspect of Decibel’s spectrum. Under other programs, such as the ironically titled "Pretty Things" the musicians present macabre oddities, such as Kuklinski's Dream by Cat Hope. A study of the Mafia mass murderer Richard "The Ice-‐Man" Kuklinski, using amplified carving knifes. Decibel sometimes crosses into pop and film music, performing Lucier’s cover of the Beatles hit in Nothing Is Real (Strawberry Fields) and performing Brian Eno's Music for Airports with tape loops and live instruments. Morricone’s newly arranged Ballad of Sacco and Vanzetti picks up on Morricone's avant-‐garde beginnings and his interest in improvisation and electronic sounds. The conceptual range of Decibel is broader, more open, and contains more surprises than that of some large European New Music Ensembles. Picture caption is for ‘The Talking Board', 2011 - graphically rendered composition, can be followed by the audience on a video screen. The programs demonstrate a certain degree of fondness for the flat, remote, distant, dark, and noise-‐like. Cat Hope is personally interested in low-‐frequency sounds (in her groups "Abe Sada" and "Australian Bass Orchestra"), where listening becomes a bodily experience. So it comes of no surprise, another Decibel program, "A Voice from the Dark Space," contemplates dark, silent and mysterious landscapes. Yet another characteristic of this ensemble is the desire for scientific exploration. In Palermo, Decibel showcased a complete revisioning of John Cage’s Variations I - to VIII (1958-‐1976), an ambitious project in which Decibel connect historical analog devices with current technical possibilities. These works makes part of their engagement with the Western Australian Academy of Performing Arts (WAAPA). These concerts of the Australian ensemble in Europe have been mutually illuminating -‐ in the sense of an intercontinental exchange, enriching us both, the Australian Ensemble as well as the European new music scene. INFO CD Disintegration: Mutation, hellosQuarerecordings (2011); Coming Soon: LP Stasis Ecstatic, Heartless Robot Productions (2012) Book Cat Hope (Ed.): Decibel: Audible Designs, Perth Institute of Contemporary Arts (PICA) 2011. online decibel.waapamusic.com Translation by Russya Connor.
1/20/12 7:09 PMAustralisch ensemble Decibel met nieuwste projekt SomAcustica te gast in Logos : Oorgetuige
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Ictus : The Wayward
Do 19/01 in deHandelsbeurs, Gent
Concerten deze week : van ma16 t.e.m. zo 22/01/2012
Sophie Karthäuser &
Cédric Tiberghien :
Mélodies d'après
Verlaine
DECIBEL :
SomAcustica
Josse De Pauw & LOD
: Die Siel Van Die Mier
Brody Neuenschwander
& Zefiro Torna :
Shadows
Ictus : The Wayward
Gradus ad Parnassum :
Dagmar Robben, Elias
Mestdagh, Tina Jacobs
& Hélène Termonia
Emanon : Rota, Nuyts
Brahms
Nieuwsbrief
Schrijf u in
Uitschrijven
Stuur
Klassiek Centraal
Zefiro Torna & BrodyNeuenschwander : Shadows
Do 19/01 in de RomaansePoort, Leuven
Josse De Pauw & LOD : Die SielVan Die Mier
Do 19/01 in het NT Gent -ma 23/01 inCultuurcentrum Kortrijk
Recente berichten
Tegendraadse blues van
Harry Partch door
Ictus...
Australisch ensemble
Decibel met nieuwste...
Sophie Karthäuser zingt
liederen op teksten
van...
Blazers van
deFilharmonie brengen
Eisler, Aho...
Shadows : een
intrigerende voorstelling
over...
Radio Klara neemt voor
het eerst deSingel in...
24 uur van het podium :
« Sophie Karthäuser zingt liederen op teksten van Verlaine in de Munt | Homepage | Tegendraadse blues van HarryPartch door Ictus in Gent »
14-01-12
Australisch ensemble Decibel met nieuwste projekt SomAcustica te gast in
Logos
DECIBEL is een Australisch ensemble dat de effekten van klank op hetmenselijk lichaam bestudeert. Met SomAcustica brengen ze eenopwindende set die deels performance, deels uitvoering en deelsresearch bevat. Je ziet hen aan de slag met werk van Warren Burt,William Seward Burroughs, Mauricio Kagel, Brian Eno en AlvinLucier.
DECIBEL is een heterogeen ensemble voor experimentele muziek uitPerth (West-Australië). De groep telt zes leden die allen zowel musici,onderzoekers als uitvoerders zijn. Hun gemeenschappelijke 'corebusiness' is het uitpluizen van effekten van georganiseerd geluid en
akoestische fenomenen op het menselijk wezen. Met Tape it!, een van hun eerste projekten alscollektief, reisden ze al hun thuiscontinent af, nu trekken ze hun geografisch kader open meteen toernee door West-Europa en hun daarbijhorende nieuwste produktie, SomAcoustica.
DECIBEL schrikt er niet voor terug om ook iconen uit verschillende muzikale strekkingen door hunmangel te halen. Zo mag je je op dit concert aan een setlist verwachten waarin de 'ernstigemuziek' van Mauricio Kagel en Alvin Lucier gesupplementeerd wordt door de 'Gebrauchsmusik'van Brian Eno. Van Logos-sympathisant Warren Burt krijgen we dan weer een speels iPhone-stuken zelfs The Biggest Literary Outlaw, William Burroughs, komt aan het woord met diensverstorende, ongrijpbare 'Electronic Revolution'.
'Electronic Revolution' is een essay dat Burroughs schreef in 1970, na zijn doorbraak met NakedLunch en The NOVA Trilogy en bevat - weliswaar nog in rudimentaire vorm- de belangrijkstethema's die zijn oeuvre de decennia daarop zouden kenmerken: taal als een injectie vanbuitenaards leven dat de menselijke communikatie overhoop gooit, de ongecontroleerdediktatuur van nieuws, pers en politieke demagogie en de onderwerping van de wil van hetindividu aan de vrije interpretatie van woorden, symbolen en beelden. 'Electronic Revolution'oefende een sterke invloed uit op experimentele progrockers uit de jaren 70. Met name RichardH. Kirk van Cabaret Voltaire betitelde het als "a handbook of how to use tape recorders in acrowd … to promote a sense of unease or unrest by playback of riot noises cut in with randomrecordings of the crowd itself."
DECIBEL is samengesteld door volgende zes knappe koppen: Cat Hope (artistiek leider, fluit &electronics), Lindsay Vickery (rietinstrumenten, programmeur, electronics), Stuart James(piano, perkussie, programmeur & electronics), Malcolm Riddoch (gitaar, netwerk & electronics),Tristan Parr (cello) en Aaron Wyatt (viool & altviool).
Tijd en plaats van het gebeuren :
DECIBEL : SomAcusticaDinsdag 17 januari 2012 om 20.00 u Logos Tetraëder - Gent Bomastraat 26-289000 Gent
Meer info : www.logosfoundation.org
1/13/12 10:13 PMKulturkalender Biberach
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club modern24. 01. 2012 | Stadthalle
Decibel TAPE IT
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Donnerstag, 24. Januar 201220:00 Uhr | Stadthalle
Decibel TAPE ITDer Südwestrundfunk SWR veranstaltet in Zusammenarbeit mit dem club modern Biberach und präsentiert von der Schwäbischen Zeitung am Dienstag,24. Januar 2012 um 20 Uhr in der Stadthalle Biberach ein Konzert mit dem Australischen Ensemble „Decibel“. Das Konzert wird vom SWRaufgezeichnet und bringt Werke von Warren Burt, William Burroughs, Brian Eno, Lindsay Vickery, Cat Hope, Mauricio Kagel, Alvin Lucier sowieeine Gemeinschaftskomposition des Ensembles zur Aufführung.
“Tape it der Name ist das Programm. Von elektronischer Musik existiert im Grunde ein bestimmtes Klischeebild: Musik aus der Maschine - oderschlimmer aus der Retorte. Das klingt zumeist nach steriler Laborarbeit. In Wahrheit ist die elektronische Musik aber vielgestaltiger und vielfarbiger.Und Tonbandmusik ist eben nicht Live-Elektronik. Schließlich aber: Wer kennt sie nicht, diese kleinen elektronischen Pieper, die so manchesKinderzimmer verschönern und den Erwachsenen nur auf die Nerven gehen. Das sind eigentlich auch Instrumente, nur eben elektronische.
Genau diesen Aspekten ist das Programm von “Tape it gewidmet. Es ist ein Programm, bei dem der Fokus auf Werke gerichtet ist, die Playback-Verfahren als Teil der Partitur nutzen. Das musikalische Spiel mit Bändern wird hierbei verstanden als Umgang mit den vielfältigen Verfahren desPlaybacks: Traditionelle Tonbandgeräte kommen hier ebenso zum Einsatz wie tragbare Kassettengeräte und CD-Spieler, Tape-Decks,Schallplattenspieler und die jüngste Generation der Playback-Technologie durch die Verwendung von Computer-Laptops zur Klangerzeugung. Alle
1/13/12 10:13 PMKulturkalender Biberach
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Playback-Klänge wurden entweder durch das Ensemble selbst aufgenommen oder werden in bestimmten Einzelfällen in Echtzeit produziert. DasPlayback wird dabei in jedem Stück als einzigartiges, den akustischen Raum gestaltendes Instrument eingesetzt, das sowohl die Spielsituation als auchdie Aufführungsvoraussetzungen bestimmt. “Tape It versucht die verschiedenen Möglichkeiten hörbar zu machen, wie das Playback in eine Kompositionintegriert werden kann.
Die aus,- und aufführende Gruppe Decibel ist ein junges Ensemble, das sich der Aufführung von Kammermusik widmet, die elektronische undakustische Instrumente miteinander verbindet. Die Kernidee von Decibel ist es dabei, das elektronische Playback-Verfahren als ein eigenständigesInstrument zu verstehen und einzusetzen, so dass es seine eigene akustische Präsenz, Qualität und Gewichtung besitzt Kategorien die gemeinhin nur aufakustische Instrumente angewandt werden. Decibel setzt sich dafür ein, das reichhaltige, aber bislang vernachlässigte Repertoire zu entdecken, daselektronische und akustische Instrumente miteinander verbindet, in dem dabei originalgetreue Wiedergaben der ursprünglichen Technologie ebensoeingesetzt werden wie auch gegenwärtige Interpretationen, was ein “elektronisches Instrument sein könnte. Es handelt sich dabei um ein höchst delikatesVerfahren, denn: neue Technologien sind nicht immer und unbedingt besser, aber sie klingen anders. Das zeigt sich allein schon bei den qualitativenUnterschieden zwischen einem Tonband, einer digitalen Aufnahme oder einem Playback von der CD. Auf der anderen Seite vereinfachen neueTechnologien die Anwendungen und Einsatzmöglichkeiten elektronischer Instrumente. Decibel engagiert sich dabei sowohl für das Werk australischerals auch internationaler Komponisten, die für dieses Repertoire gearbeitet haben.
Programm:Warren Burt: Another Noisey Lullaby (2009)für vier Instrumente und Ghetto-Blasters William Burroughs: Electronic Revolution (1970)für zwei Laptops und Plattenspieler Cat Hope: In the Cut (2009)für Bassklarinette, Bassgitarre, Plattenspieler, Cello und ElektronikMauricio Kagel: Prima Vista (1972/74)für zwei Tapedecks und vier MusikerBrian Eno: Music for Airports 1/1 (1978)für Altflöte, Altsaxophon, drei Tonband-Loops, Klavier und Cello Decibel: Lingua Ignota (2011)für vier Instrumente und elekotroakustische Rückkoppelung Lindsay Vickery: Transit of Venus (2009)für drei Instrumente und Elektronik Alvin Lucier: Ever Present (2004)für Sinuswellen Flöte, Altsaxophon und Klavier
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1/13/12 10:34 PMKulturverein Zehntscheuer e.V. Rottenburg am Neckar
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TAGE FÜR NEUE MUSIK 2012
Neue Musik aus Australien
Decibel New Music Ensemble
Werke von Lindsay Vickery, CatHope, Percy Grainger, Decibel,
Rainer Linz, Julian Day undanderen
Neue Musik aus Lateinamerika
Ensemble Aventure
Werke von Germán Romero,Mariano Etkin, Mesias
Maiguashca, Natalia Solomonoff,Edgar Barroso und Rodolfo
Acoste
INFO
Neue Musik aus Australien und aus Lateinamerika
Globalisierte Welt, heile Welt? Nicht so in den Künsten. Diese suchen nach wie vor ihremaßgeblichen Anregungen in den nationalen Quellgebieten. Die Tage für Neue Musik legen ihrAugenmerk auf zwei der Quellgebiete: jene in Australien und in Lateinamerika.
Die Gäste, die wir dazu eingeladen haben, stammen von dort: das Ensemble Decibel New Music ausAustralien, Perth.Das Decibel New Music Ensemble ist ein junges Ensemble, das sich der Aufführung von
1/20/12 8:10 PMBERLIN - DECIBEL - Far Away Ideas: New Experimental Music From Australia - 19.1.2012 @ WABE Berlin
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Degem - Deutsche Gesellschaft für elektroakustische Musik e.V.Sie sind hier:
HomeNewsBERLIN - DECIBEL - Far Away Ideas: New Experimental Music From Australia - 19.1.2012 @ WABE Berlin
Intern[ 05. Januar 2012 ]
BERLIN - DECIBEL - Far Away Ideas: New Experimental Music FromAustralia - 19.1.2012 @ WABE BerlinVon: "Elke Moltrecht" Datum: 5. Januar 2012 04:15:52 GMT+08:00
Wir freuen uns, Ihnen die Deutschlandpremiere des australischen Ensembles DECIBEL aus Perth ankündigen zu können:
DECIBEL - Far Away Ideas: New Experimental Music From Australia19.1.2012: Einlass 19 Uhr, Konzertbeginn 20 UhrEintritt: 12,- €/erm. 8,- €WABE Berlin
decibel.waapamusic.comwww.x-tract-production.dewww.wabe-berlin.de
Erstmalig spielt das australische Ensemble Decibel in Deutschland: ein Programm mit ausschließlich australischen Werken für akustische und elektronischenInstrumenten. Der Abend in der Wabe wird gemeinsam gestaltet mit in Berlin lebenden australischen Musikern, durch eigene Kompositionen und Improvisationen.
Mit:ENSEMBLE DECIBEL (AUS):Cat Hope - Künstlerische Leitung, Flöte, BassLindsay Vickery - Blasinstrumente, Programming, Score PlayersStuart James - Piano, Percussion, ProgrammingTristan Parr - VioloncelloMalcolm Riddoch - Electronics, NetworkingAaron Wyatt - Violine, Viola
THOMAS MEADOWCROFT – Orgel, RevoxSTEVE HEATHER + TONY BUCK – SchlagzeugBORIS HAUF – Syntheziser
Kompositionen von PERCY GRAINGER, LINDSAY VICKERY, CAT HOPE, MALCOLM RIDDOCH, STUART JAMES und JULIAN DAY Kompositionen undImprovisationen von THOMAS MEADOWCROFT, STEVE HEATHER, TONY BUCK und BORIS HAUF
In Kooperation mit x-tract-production/Elke MoltrechtMit freundlicher Unterstützung durch Tura New Music und Edith Cowan University.
Herzlich grüßend
Elke Moltrechtx-tract-production.deElsa-Brändström-Str. 113189 BerlinTel. 030 505 93 400www.x-tract-production.de
CURV
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2012
CONCERTI27 GENNAIO TIM HODGKINSON EXPERIENCE 1 ATELIER MONTEVERGINI
28 GENNAIO TIM HODGKINSON EXPERIENCE 2 ATELIER MONTEVERGINI
29 GENNAIO TIM HODGKINSON EXPERIENCE 3 ATELIER MONTEVERGINI
3 FEBBRAIO IL SUONO DEI SOLI DECIBEL 1 CANTIERI CULTURALI GOETHE-INSTITUT
4 FEBBRAIO IL SUONO DEI SOLI DECIBEL 2 CANTIERI CULTURALI GOETHE-INSTITUT
9 FEBBRAIO IL SUONO DEI SOLI ULRIKE BRAND CANTIERI CULTURALI GOETHE-INSTITUT
10 FEBBRAIO IL SUONO DEI SOLI HÉLÈNE BRESCHAND 1 CANTIERI CULTURALI GOETHE-INSTITUT
11 FEBBRAIO IL SUONO DEI SOLI HÉLÈNE BRESCHAND 2 CANTIERI CULTURALI GOETHE-INSTITUT
16 FEBBRAIO IL SUONO DEI SOLI JOHN TILBURY 1 CANTIERI CULTURALI GOETHE-INSTITUT
17 FEBBRAIO IL SUONO DEI SOLI JOHN TILBURY 2 CANTIERI CULTURALI GOETHE-INSTITUT
24 FEBBRAIO IL SUONO DEI SOLI BADANO/FERRARI CANTIERI CULTURALI GOETHE-INSTITUT
25 FEBBRAIO IL SUONO DEI SOLI PAOLO EMILIO CARAPEZZA CANTIERI CULTURALI GOETHE-INSTITUT
1 MARZO IL SUONO DEI SOLI FLAVIO VIRZÌ CANTIERI CULTURALI GOETHE-INSTITUT
2 MARZO IL SUONO DEI SOLI THOLLEM MCDONAS CANTIERI CULTURALI GOETHE-INSTITUT
3 MARZO IL SUONO DEI SOLI MCDONAS/SFAMELI CANTIERI CULTURALI GOETHE-INSTITUT
10 MARZO TIPTONS SAXOPHONE QUARTET CANTIERI CULTURALI GOETHE-INSTITUT
17 MARZO GIOVANNI CUTELLO PREMIO PIPPO ARDINI ATELIER FORME D’ARTE
21 MARZO THOMAS LEHN PALERMO MEETING 1 CANTIERI CULTURALI GOETHE-INSTITUT
22 MARZO THOMAS LEHN PALERMO MEETING 2 CANTIERI CULTURALI GOETHE-INSTITUT
29 MARZO SUPERSAX CONTEST 1 CANTIERI CULTURALI GOETHE-INSTITUT
30 MARZO SUPERSAX CONTEST 2 CANTIERI CULTURALI GOETHE-INSTITUT
31 MARZO SUPERSAX CONTEST 3 CANTIERI CULTURALI GOETHE-INSTITUT
venerdì 3 febbraioCantieri Culturali alla Zisa, Goethe-Institutore 21,15 concerto
THE COMPLETE JOHN CAGE VARIATIONS
DECIBEL ENSEMBLE (Perth)
Cat Hope direttore artistico, flauti, basso elettricoLindsay Vickery strumenti ad ancia, programmazioneStuart James pianoforte, strumenti a percussioneTristan Parr violoncelloMalcolm Riddoch elettronicaAaron Wyatt volino, violaSilvia Giuffrè (ospite) danzaCamillo Amalfi (ospite) onde radioFrancesco Calandrino (ospite) onde radioSimone Sfameli (ospite) onde radio
–––––Variations I (1958)–––––Variations II (1961)–––––Variations III (1962)–––––Variations IV (1963) –––––Variations V (1965)–––––Variations VI (1966)–––––Variations VII (1967)–––––Variations VIII (1968)
100JOHNCAGE
sabato 4 febbraioCantieri Culturali alla Zisa, Goethe-Institutore 21,15 concerto
NEW EXPERIMENTAL MUSIC FROM AUSTRALIA
DECIBEL ENSEMBLE (Perth)
Cat Hope direttore artistico, flauti, basso elettricoLindsay Vickery strumenti ad ancia, programmazioneStuart James pianoforte, strumenti a percussioneTristan Parr violoncelloMalcolm Riddoch elettronicaAaron Wyatt volino, viola
–––––Percy Grainger/ Free Music No. 1for 4 iphone theremins (1936)–––––Lindsay Vickery/ Ghosts of Departed Quantities (2011)per clarinetto basso, flauto basso, violoncello, elettronica –––––Samuel Dunscombe/ West Park (2011)per flauto basso, clarinetto basso, elettronica–––––Lindsay Vickery/ Cat Hope The Talking Board (2011)per quattro strumenti, processi elettronici e spazializazione [prima mondiale]–––––Cat Hope/ Longing (2011)per cinque strumenti con sustain –––––Malcolm Riddoch/ Variations on Electroacoustic Feedback (2010)per elettroacustica, violoncello e flauto in sol–––––Stuart James/ Particle 1 (2011)for 2 cimbali usurati, laptop, 2 microfoni e altoparlanti–––––Julian Day/ Beginning to collapse (2008)flauto in sol, clarinetto basso, violoncello, chitarra, tastiera, cimbalo e playback
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ARTICLESLYNDON BLUEEXPERIMENTAL: GILDED AND DECIBEL ALBUMREVIEWSOctober 10
Gilded – Terrane (Hidden Shoal)
I’m no geologist, but thanks to a bit of search-engine scholarship I can now tell youthat a “terrane” is a land-mass phenomenon where a tectonic plate breaks off andfuses with another, leaving a fault-line where the two bits of Earth-crust have“sutured.” The metaphorical inference to be made here – that collaborators AdamTrainer and Matt Rosner’s respective approaches/oeuvres are comparable totectonic plates, monolithic, timeless, and joined at last – might seem a touch self-important if not for a few facts. (A) Adam and Matt are well-known to be top dudes,tirelessly honing their crafts for years with no time for chest-puffing; (B) theirapproaches/oevres actually DO feel somehow monolithic and timeless, detachedfrom the mundanities of modern life, alluding to something more cosmic or ancient,and © well, it’s just a darned album title isn’t it, and it would be a bit rough to drawassumptions about the fellers’ personalities thereupon.
For a more rigorous glimpse into the inner workings of the Trainer/Rosner collectiveconsciousness, cue up their debut long-player. You will be handsomely rewarded.“Terrane” is one of the most simultaneously accessible and uncompromisingexperimental records to come out of Perth – perhaps ever. The pair’s sharedpenchant for slow-burn textural development, distant gestural melody and ambientdrifting is adapted and forged into a record that is remarkably concise andconsistently engaging – you might even call it muscular.
Opener “Velar” is all glassy piano, sparse percussion and ghostly bow strokes, butimmediately “String and Stone” reworks similar textures into decisive 4/4, a quiet,sanguine momentum – dance music for sunbeams. “Tyne,” similarly, relies onrepetition, and nods towards Trainer’s pop and post-rock roots. Other tracks – like“Road Movie,” “Straight Crest,” and “Moth Food,” allow more for these textures tofloat, unbridled by tempo, foregrounding the freeform interplay of campfire crackleand dawntime drone. Yet never does the record drag; my indie-pop-adoring
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teenage sister likes it; no less is it bound to please the most avid aficionados ofexperimental soundscaping. Gilded have achieved that special alchemy –transcending “genre” with a record that will appeal to many, sacrificing none of itsunique, esoteric quality in the process.
DECIBEL – Stasis Ecstatic (Heartless Robot)
Holding Decibel’s (very beautifully packaged) new gatefold LP in your hands, you’restruck with an inevitable question. How does a group like Decibel – whose workdeals so much with experimental engagement with space, real-world acoustics,audiovisual interaction and replicating/subverting traditional performance protocol –condense itself into a standalone sound-document, let alone good old-fashionedvinyl? (Okay, it’s a long-winded question, but it’s still inevitable). The answer lies inhaving the maturity to fully accept the limitations of the medium, and the artistry towork deftly within them.
Statis Ecstatic’s title lays bare its preoccupations. This is not a record about movingtowards a destination; rather rejoicing in stillness and prolongedexperience/exploration. Nor are we talking about the mantric, somehow sexual(getting Freudian here) elation that can accompany fiercely repetitive “aimless”music (the “motorik” beat, the hefty droning of doom metal, the relentless pulse ofhouse beats). No – the ecstasy here is more subtle, mysterious, phantasmic – butit’s a sort of joy nonetheless. While it might rightly called a “challenging” listen, thestrange adventures within Statis Ecstatic are by no means a chore to experience.
Rather than try to encapsulate the very eclectic, cross-disciplinary and often site-specific nature of their performances, Decibel have wisely forged an album that isboth focused and atmospheric. Yes, the pieces herein do operate at academic andintellectual levels, employing experimental technologies, innovative scoring stylesand extended techniques. But importantly, they are mood-inducing and aurallyenticing too. Pervading these soundscapes is the sense of something ghostly andjust out-of-sight, like the inexplicable presence felt in a haunted house (indeed,Linsday Vickery’s “Ghosts of Departed Quantities” readily alludes to sonic specters).Drones, strings, woodwind, feedback, cymbals, electronics, vocals and even theodd spy-rock guitar mingle in an outer-space void of cavernous reverb to producean hour of sound that is as seductive as it is unsettling. The record’s intriguingconclusion is performed by Stuart James on a sound-invention by Dwellingup-dweller Alan Lamb called “The Infinity Machine.” Using wires and magnets, themachine provides a sonic articulation of chaos theory, and a capacity to endlesslyreconfigure strange, industrial and otherworldly sounds – until at last the recordspins around a single note for a seemingly indefinite duration. How better to end arecord about ecstatic stasis than with “infinity” – the most mysterious, sublime andcuriously static proposition of them all.
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