VISUAL SCORES @ Orgelpark
17.04.2011 14:15
Exhibition & Concerts at ORGELPARK [reservation] in collaboration with MCN Interpreters Competition.
From classical graphic scores interpretation to site-specific work for organ to sound installation by promising Dutch componists and artists, among wich two premieres: Keren rosenbaum’s Tango first with Maya Dunietz, Michael Karr’s Four Faces.
Books Notations 21 by Theresa Sauer available [55 eur]. Theresa Sauer is present to sign your book.
.EXHIBITION UNTIL 30th April:
Luiz Henrique Yudo - A Merry Card | Dyane Donck & Evelien van den Broek - Yesterday [sound installation, score] | Christoph Heindler [graphic scores]
.CONCERT SUNDAY 17th April 14:15 < 17:00
* Ton de Leeuw - Mountains [graphic score] | Tape, bass clarinet [Fie Schouten], video [Julie Dassaud] 18’
* Michael Karr - Four Faces [mapping score] | Bass saxophone (regular text): Catalin Milea , Trumpet in C (bold text): Sebastian Burneci, Piano (bold-italic text): Simona Strungaru, Violin scordatura (italic text): Melanie Waite10’, Live visuals: Michael Karr
* Luiz Henrique Yudo - Amaze [gaming score] | 4 organs [Berthold Labuda, Jochem Schuurman, Maya Dunietz, Johan Luijmes] 5’
* Enrique Raxach - The looking-glass [graphic score] | Organ [Berthold Labuda] 10’
15:00PAUZE PAUZE PAUZE 15:30
* György Ligeti - Volumina [graphic score] | Organ [Jochem Schuurman] 18’
* Martijn Voorvelt - Solo for Electric guitarist [graphic score] | Electric guitar [Wiek Hijmans] 10’
* Keren Rosenbaum | Tango First [Reflex Invisible score] | Cello [Keren Rosenbaum], organs [Maya Dunietz] 10’
* Machinist | Resonance [video score] | live electronics [Zeno van den Broek]10’
* Joost van der Goor | Passages | photosequences, electronics, clarinet [Michel Marang] 10’
17:00FINAL
Christian Wolf | Edges [graphic score] | all musicans 10’
.KEREN ROSENBAUM | premiere TANGO FIRST
KEREN ROSENBAUM
New composition by Keren Rosenbaum especially for this Orgelpark Notations 21 concert. First of the Tango series using the Reflex Invisible score method.
MAYA DUNIETZ
Maya Dunietz is a pianist, composer, improviser and singer, Born in Israel on 1981. Her work ranges between solo performances, composing for various ensembles around the world, writing for theater, creating sound installations, building strange electronic instruments and singing in various styles, among them heavy metal, kleizmer and contemporary classical music. Maya founded the 'Israeli cult' experimental vocal ensemble "Givol Choir" (2003-ongoing) and is currently working with director Ariel Efraim Ashbel on a new joint project to be performed in Germany, 2011.
She is at the moment curating a series of performances in the OTO CAFE in London: http://www.cafeoto.co.uk/well-pampered-clavier.shtm
.MICHAEL KARR | Premiere FOUR FACES
The piece is extracted from Tom Dalzell's The Concise New Partridge Dictionary of Slang and Unconventional English. Based on the number of text rows in the entire dictionary, three categories of phrase sequences have been obtained, distinguished from each other with the use of the three type-faces: regular, bold and italic. These type-faces were subject to the interpretation of my father and I, whilst reading the phrases. My father spoke boldly, as an old-timey radio newscaster. I used my regular speaking voice as well as an 'italic' voice situated at the breaking points between chest voice and falsetto throughout my entire speaking register. The spectrograms were measured for the fundamental frequency and the intensity (in dB) to determine the tiers for pitch and dynamics throughout the work. These sequences, including a down-mix of the bold and italic tracks, were assigned to a respective instrument of this four-head ensemble based on the pitch contour of the sound.
The role play:
Bass saxophone (regular text)
Trumpet in C (bold text)
Piano (bold-italic text)
Violin scordatura (italic text)
Dynamics are a constant presence in the piece and are used for a fluid modulation, the dynamics in the score are placed regularly one after the other, useful as a counting device. The written dynamic range goes from OO (silence) to fff (as loud as possible on the specific note.) Keep in mind, though, that certain notes can only be quiet and others can only be quite loud. The dynamic indications are then relative to each specific note. The marking 'ppp' indicates 'as quiet as possible on the specific note without being silent'.
The quietest notes possible will certainly be quite loud in the higher register of the trumpet and sax, so additional techniques are used in playing to produce different degrees of loudness, starting from the already loud 'ppp', on these notes. The very soft notes on an instrument during louder passages on the surrounding instruments are played as soft as possible, to submit to a greater power unless the 'p' is more powerful than the surrounding 'f'.
.LUIZ HENRIQUE YUDO - AMAZE! (2005)
There are basically two kinds of movement the musicians have to pay attention to: horizontal movement affecting the pitch and vertical movement affecting its duration and dynamics.
The basis of the game is a labyrinth design. The labyrinth tracé comes from St Catherine's mizmaze in Winchester, England.
The musicians follow their respective colour dots. Their movements result in music.
Many thanks to graphic designer Bart van der Poel (www.werf3.nl) who helped me to develop the software which became the basis for this composition.
Luiz Henrique Yudo (b.1962) is a Brazilian composer of Japanese descent. For several decades however, he has lived and worked in Holland. He currently resides in Amsterdam.
He received his training as an architect at the University of São Paulo (FAU-USP) and later studied at the Nederlandse Film en Televisie Academie in Amsterdam.
He studied privately with the Brazilian composer Damiano Cozzella and the American composer Tom Johnson.
Many of his compositions are strongly inspired by visual associations.
He writes scores in which there are aspects left open to the musicians in order to create an individual interpretation. His music can be adapted to many situations.
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