Archivio Sonoro: SoundArtMuseum en

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2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Ti amo [post_excerpt] => supporto di fruizione CD e MC durata performance variabile [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ti-amo [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:02 [post_modified_gmt] => 2015-01-09 16:02:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6105 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 89 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6137 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Il Cd si compone di 5 tracks e si intitola "Urban Soundworks", recorded and produced by Gak Sato and Steve Piccolo per steve piccolo vedi anche il n. arch. 133 [post_title] => Omniscape [post_excerpt] => Steve Piccolo -Born 1954 New Hampshire USA. School and college in New York (Bard College, New York University). Now lives in Milan, Italy. After studies in New York (Roswell Rudd, Charlie Haden) he began his professional career in the early 1970s playing standup bass in jazz groups. Toward the end of the Seventies he founded, together with John and Evan Lurie, Arto Lindsay and Tony Fier, the group The Lounge Lizards. For five years or so the group performed all over the world, including international festivals and important venues. Their first LP (now CD, Virgin), published in 1981, continues to sell quite a few copies each year. In parallel with his activity as a jazz instrumentalist, Steve worked in the world of pop music, writing songs and lyrics. After having published two LPs under his name (Domestic Exile, Adaptation) in the early eighties (US, France, Italy, still available in Italy from Materiali Sonori) he began working with songwriters and producers on an international level. He began to spend more time in Italy, working with producers like Giancarlo Bigazzi, Caterina Caselli, the La Bionda brothers, Claudio Fabi, Toto Savio. He wrote songs for artists like Raf, I Righiera, Umberto Tozzi, Alberto Fortis and many others. The song “Self Control” written by Bigazzi-Riefoli-Piccolo (1984) with lyrics by Steve sold many millions of copies, reaching number one on charts all over the world. During the second half of the eighties he lived almost exclusively in New York, writing songs and music for theater. His favorite production from the time was “Ambition” by the company “Love Theater” (Peter Halasc, ex Squat Theater, the company with which Steve worked in the early 1980s), seen at the La Mama theater in New York. In the 1990s he moved to Milan and published two CDs with the collaboration of Italian and American musicians: “Hilarity Workshop” (Underground Records, Bologna, 1997) and “Bitter Pill”(Cox 18 Music, Milan, 1999-2000). His songs were included in compilations published by Sony and EMI, and a number of compilations in the United States). Starting in 1995 he returned to frequent live concert activity, playing festivals and theaters in Italy and around Europe with different line-ups, including Italian musicians (jazzmen Giancarlo Locatelli and Filippo Monico), members of new ‘rock’ groups (Massimo Volume, Afterhours, Rosso Maltese) and renowned artists from New York (Elliott Sharp, Zeena Parkins). For the record company Mescal (dist. Polygram) he produced the CD “Da Qui” by the group “Massimo Volume”. Work with the group continued in 2001 with a concert tour in which Steve also performed on voice, bass and rhodes. Since 1999-2000 his research has focused on the major project The Expedition, a narrative-musical work with many different parts, specifically developed for each city or venue in which it is performed, using the sounds of that city. In the early versions there were as many as 12 musicians on stage, theater sets were utilized, but without video images. After the debut at CS Leoncavallo in Milan and the version prepared for the festival Brescia MusicArte (both in 1999), the show was broken down into modules for separate development. Live work continued in duo with Luca Gemma with “The Secret Diaries of Bruce Chatwin”, at the festival Frontiere in Milan in 1999. This show was later seen in festivals in Pisa and Livorno in summer 2000. DJ-composer Gak Sato (from Tokyo) joined the project in 2000, in the show “Songs about Danger”. For the first time video images were introduced in the concerts, by Armin Linke. This piece was presented at the festival Frontiere in Milan in 2000, and developed at CS Cox 18 Milan a few months later. The project then evolved into a new Expedition. The first results were heard in “Getting Ready for the Expedition” in Venice, for the concert series Off Risonanze, and in Catania at Mercati Generali. Two of the pieces developed for this show became part of the CD by Gak Sato, “Tangram”, published in 2001 by Temposphere Records. From 21 March (premiere at Radio Popolare in Milan) to 15 July 2001 the new version “Expedition/Dérive” was performed in museums, cultural centers and festivals (Milan, Sesto San Giovanni, Catania, Mestre, other cities). In summer 2001 the urban sounds archive assembled by Sato and Piccolo began to produce many new compositions. New videos were also added, working in collaboration with the visual artist Luca Pancrazzi. The work was presented in the context of the MilanoFilmFestival at Piccolo Teatro Studio in Milan, 22 Sept 2001, under the title “Effetto cinema: musica alla deriva”. The collaboration with Elliott Sharp has continued for many years now, including a performance at Teatro Fondamenta Nuova in Venice 26 November 2001, in a duo entitled “Songs from the Frozen Zone”. After a positive experience at the Milan Polytechnic in the summer of 2001, in which the students recorded the sounds of the city to construct a performance and an urban sound map, Piccolo-Sato-Gemma with special guest Elliott Sharp did a concert and workshop at the IUAV architecture institute in Venice on 30 November 2001. The concert “Expedition/Dérive” was included in the series “Suoni e Visioni” in Milan, 11 March 2002 at Teatro di Portaromana, in a complete version with set design, special guest Elliott Sharp and new videos by Janene Higgins, Armin Linke-Paola Di Bello and Luca Pancrazzi. Steve performed on guitar, bass and vocals in the tour for the CD Tangram by Gak Sato in 2001-2. Steve Piccolo and Gak Sato also work in the field of “sound art”, creating installations for galleries and museums. They collaborate with visual artists to realize the sound portions of more complex works. In 2002 the song Green City by Steve, arranged by Gak Sato, was published in over 250,000 copies of compilations in the US, England and Italy. Expedition/Dérive was also performed in the Central Station in Milan, 28 May 2002 (see press release in Italian). Steve and Gak prepared a sound installation and concert for the MilanoFilmFestival 2002, recording and processing the sounds of the square in front of the Piccolo Teatro (22 Sept 2002). Steve participated in the project of Auditorium Records and MMT “A Year for Cage”, a one-year series of initiatives on John Cage, with the first concert at Teatro OutOff in Milan 27 Sept 2002, later at Radio Popolare. This project has evolved into the group Full Metal Cage Collective. Steve co-wrote and sang the title track “Spontaneous” for the recent CD by DJ-composer Painé, for Temposphere Records Spring 2003. In May 2003 Spontaneous was in the German Top 30 club charts. Steve collaborates with the radio program Remix on Rai 3, by Istituto Barlumen. With the group DE-ABC (Steve Piccolo, Gak Sato, Luca Pancrazzi), design of an urban installation, seen in the Urban Furnishings Fair of Esterni and the Isola Art Project show, both in Milan (April 2003). Steve and Gak have composed, performed and recorded many soundtracks for films and videos, including recent projects (2003) with Gabriele Di Matteo and a video on the history of the Compasso d’Oro design award for ADI. The latest video sound works have been for Adrian Paci, Ivo Bonacorsi and A Constructed World. Participation in the Isola Art Project, an initiative of a group of artists and critics to save an abandoned factory surrounded by two parks in a cool neighborhood in Milan and make it into a contemporary art center, instead of the shopping center fashion promo speculation planned by the city. Steve and Gak have recorded a one-hour program for WPS1 Art Radio (NY), entitled "Expedition". Steve and Gak are back again on the faculty for 2004-5 (their third year) at Accademia Carrara of Bergamo, teaching a course on "sound design". Steve will also teach the Sound section of the university course on "new techniques of art". GAK SATO was born in Tokyo in 1969. In 1994 he created the band Diet Music in Tokyo. In 1999 he became Artistic Director of TEMPOSPHERE, the contemporary music label of Right Tempo Records in Milan. His debut album POST-ECHO (Temposphere, 1999) immediately led to contacts with other producers such as Amon Tobin, Kid Loco and United Future Organization for artistic collaborations. Gak has participated on various remix projects (Easy Tempo Experience) with the Easy Tempo label (which reissues and remixes Italian soundtracks of the 60s and 70s). Successes include remixes of compositions by some of the greatest Italian masters of film music such as Piero Umiliani, Armando Trovajoli, Piero Piccioni and Lesiman (Motore a Ioni, Mah Nà Mah Nà, Lady Magnolia, all composed by Umiliani, Masquerade by Trovajoli). In these projects he has worked alongside the likes of Rainer Truby, Kid Loco, DJ Vadim, Cinematic Orchestra, Raphael Sebbag (UFO), Beanfield and Galliano (Underhead). In 1999 Gak Sato released a new single featuring Hip Wagging-Foot Shuffling remixed by Amin Tobin (Ninja Tune) along with a version of the great Metti una sera a cena by Ennio Morricone performed together with Alessandro Alessandroni on vocals. In 2001 Gak released his second album TANGRAM (Temposphere). On this record he makes less use of samples, getting some of the best Italian jazz musicians involved in compositions that blend the techniques of contemporary production with the talent of great improvisers. The title track Tangram has been issued in a remix by the producer Yukihiro Fukutomi and features the trumpet artistry of Nargo (from Tokyo Ska Paradise Orchestra). The track Green City is Gak’s version of a song by Lounge Lizards co-founder Steve Piccolo, with guest vocals by Piccolo himself. This track has been featured on many compilations in the US and Europe. Gak Sato’s live performances include the Tangram Tour with Steve Piccolo and Pepe Ragonese joining him in a live trio with video (2002 in Portugal, London, Monte Carlo, Italy) and evenings together with turntable masters like Gilles Peterson, Rainer Trüby, Pizzicato Five, Kid Loco and many others. He also performs in Steve Piccolo’s Expedition concerts on programming, keyboards, theremin and percussion, and is co-producer of the new Expedition CD. He has worked with Steve Piccolo on sound art installations in collaboration with leading visual artists and photographers. Since 2002 he is professor of Techniques of Sound in Art at the Accademia Carrara fine arts academy of Bergamo. He is participating in the John Cage tribute “A Year from Cage”, a one-year series of events and performances organized by MMT and Auditorium. Recent collaborations include projects in New York and France, gallery performances, radio shows. Il Cd si compone di 5 tracks e si intitola "Urban Soundworks", recorded and produced by Gak Sato and Steve Piccolo per steve piccolo vedi anche il n. arch. 133 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => omniscape [to_ping] => [pinged] => [post_modified] => 2019-07-02 15:21:37 [post_modified_gmt] => 2019-07-02 13:21:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6137 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 122 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6169 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Butterflies on a Rainy Day [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => butterflies-on-a-rainy-day [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:09 [post_modified_gmt] => 2015-01-09 16:02:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6169 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 154 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6201 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Lab (track 1) [post_excerpt] => C.P.: ZATAN VUKOSALIEVIC n. arch. 103 traccia 1 – rumori cupi, prevalentemente da percussioni. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => lab-track-1 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:12 [post_modified_gmt] => 2015-01-09 16:02:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6201 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 187 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6433 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => The concept of multiples and doubles (the theme of this CD's) and the re-cycling of the works sometimes from many years ago is a process that began in the early nineties and co-incided with three artist colony sojourns. First at Mac dowell Colony, then at Yaddo Colony and last at the Headlands center. The reflective look over an entire oeuvre became a mechanism that accelerated. At first it consisted of the Cageian gloss of playing entire works with other works, either simoultaneously on top of each other or sequentially in parts or sections. Then with digital network musics and the home computer came the text-radio works, creating new sound designs, playing them with old often ambient analog tape works. Finally the process became quite complex using simulation and photo-real aural sound soundscape in creating sonic atmospheres and doubles of all kinds. This De Chirico-like aping of former material has became quite developed and culminates in the Wave Fugue. [post_title] => Chamber LOST2 for Christian Boltanski - Mary smith [post_excerpt] => Rocco Di Pietro was born in Buffalo, New York in 1949. He studied composition and piano with Hans Hagen and Lukas Foss in Buffalo and at the Berkshire Music Center, Tanglewood. He studied in New York and Darmstadt with Bruno Maderna and was a freelance composer for twenty years before earning degrees from SUNY Buffalo and Vermont College. He became an interdisciplinary adjunct professor teaching in prisons and on many college campuses throughout New York, Ohio, and California. He toured California prisons as artist-in-residence and conducted four years of interviews in Chicago with Pierre Boulez. The resulting book, DIALOGUES WITH BOULEZ, was recently published by Scarecrow Press. He composed Prison Dirges I for the Kronos String Quartet. Di Pietro's music has been performed by many musicians in venues throughout the world. These include: Christiane Edinger, Christobal Halffter, Lukas Foss, Julius Eastman, Bruno Maderna, Frances Marie Uitti, Yvar Mikhasoff, Jan Williams, Anthony Miranda, Gunther Schuller, Dennis Russell Davies, the Buffalo Philharmonic Chamber Orchestra, The Brooklyn Philharmonic, the Bavarian Radio Orchestra, Pro Musica Chamber Orchestra, CETA Orchestra, Ojai Ensemble Sonor, St. Paul Chamber Orchestra, Columbus Wind Orchestra, Earlham String Orchestra, the Avant Collective, and the Madd Lab Orchestra. Venues include: The Kitchen, La Mama, Bang On A Can Festival, in New York, Contemporary Music Society of Seoul, South Korea and American Academy in Rome among others. Recent performances of LOST have been featured at Dartmouth College and Stanford University. Recently, his work has developed on several fronts. Sound text radio works have developed simultaneously with his teaching at Columbus State College of electronic music and other courses in the Humanities. These works have been broadcast on radio stations in Seattle, Chicago, Baltimore, Detroit, New York and in Europe, in Naples, Rome, Vienna, Prague, Budapest etc. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => chamber-lost2-for-christian-boltanski-mary-smith [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:12 [post_modified_gmt] => 2015-01-09 16:03:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6433 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 422 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6466 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Rock Suite in Y, Second Movement [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => rock-suite-in-y-second-movement [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:15 [post_modified_gmt] => 2015-01-09 16:03:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6466 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 455 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6498 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => tokyospace 14 [post_excerpt] => Cd T. T. 46' 48": selected sound tracks from Stefano Cagol's videos (1997-2004). The sound tracks can be heard without the video images. Sound, editing, post-production by Stefano Cagol. Copyright 2005 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => tokyospace-14 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:18 [post_modified_gmt] => 2015-01-09 16:03:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6498 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 487 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6530 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Untitled [post_excerpt] => Carles Santos (Vinaros, 1940) can be considered an integral artist who started his long career as a pianist, covering later many other disciplines like direction and composition. The sum of all these facets, in addition to accumulated experience and reflections in other artistic areas like movies or theater, take shape in his numerous scenic, musical, and plastic works, which have given him an international recognition due to the originality of his projects and the rigor of their realization. His career began in the Superior Conservatory of Music of Barcelona's Liceo, where he obtained awards that would later give him an opportunity to complete his education in Paris where he studied with such masters as Fevrier, Casadesus, Magda Tagliaferro, Margaret Long, and later with Harry Datymer in Switzerland. As a professional pianist, he started his career in 1961, playing a repertoire of Bartok, Schoenberg, and Webern. During the same years, he composed and played the musical part of Joan Brossa's Concert Irregular, premiered at Saint Paul de Vence, Barcelona, and New York to commemorate the 75th anniversary of Joan Miro. It was a musical theater play with script by Joan Brossa and was commissioned by the Maeght Foundation. In 1968, he received a March Foundation grant and moved to the United States, where he worked with many personalities of the musical avant-garde and met John Cage. During the seventies, while directing the Grup Instrumental Catala (GIC), founded by himself and Mestres Quadreny, he made his first piano recording that included works by John Cage, Anton Webern, and Karlheinz Stockhausen. At the same time, his interest in movies leads him to collaborate with such directors as Pere Portabella, Jordi Cadena, Gonzalo Herralde, and Carles Duran. His debut as a filmmaker took place in 1967 with the short movie L'Apat; he went on through the nineties as a producer, screenwriter and music composer, having built up an extensive filmography that includes short and full-length films, documentaries, and several videos. His better-known discography starts in 1981 with the recording of Voice Tracks in New York. This was followed by Piano Track and a series of recordings for solo piano and voice, and, eventually, by recordings of longer works. To these recordings (see the discography pages) are added compositions for different orchestral groups, ensembles, and choirs ending at present with his cantata L'Adeu de Lucrecia Borja (2000), transformed later into an opera. From the seventies on he decides, as a pianist, to play nothing but his own music. Santos was invited to play at festivals all over the world, e.g., Festival d'Automme (Paris), Wintermusic '82 (Karlsruhe), Fundaçao Gulbenkian (Lisbon), Musicalia (Milano), Jazz Festival (Moers), Festival Música Nova de Santos (Brasil), Foro Internacional de Nueva Música (Mexico), Music Theatre Festival (London), Bienal San Juan de Puerto Rico, Zuerche Theater Spektakel (Zurich), New Music America '83 (Washington), Festival Internacional de Música Electroacústica (Cuba), etc. His music, which was always known to be influenced by minimalism, develops a very special personality and merges all kinds of musical languages and influences, from romanticism to atonal and dodecaphonic, and last, but not the least, Spanish. During that period, his great concern was communicating with the audience, bringing himself face-to-face with the public, and trying to avoid the boredom caused by certain avant-garde musicians of the period; that concern along with the passionate expression of his ideas has been constant throughout his artistic career. In addition, and as a consequence of his previous experience in the world of performance that is supposed to be a prelude to his theatrical dimension, from the early 80's on he begins to create a series of scenic and musical shows like Beethoven, si tanco la tapa...què passa? (1983), Té xina la fina petxina de Xina? (1983), Arganchulla, Arganchulla Gallac (1985), Tramuntana Tremens (1989), La grenya de Pasqual Picanya (1991), the opera Asdrúbila (1992), L´esplèndida vergonya del fet mal fet (1995), Figasantos-fagotrop: missatge al contestador, soparem a les nou (1996), La Pantera Imperial (1996/97), and Ricardo i Elena (2000). Also, Santos was the scenic director of Il Barbiere de Seviglia (2000). All these works have been performed at several festivals and theaters, e.g., Edinburgh International Festival, Brighton Festival, Salisbury Festival, Automme de París, Exit Creteil-París, Festival de Strasbourg, Festival ETI-Roma, Festival Internacional de Buenos Aires, Festival de Otoño de Madrid, Teatre Nacional de Catalunya, and Festival de Theatre des Ameriques-Montreal. Santos has been commissioned for different special compositions, such as the Fanfares of Olympic Ceremonies for Barcelona '92 or the Fanfare for 2001 Musicians for the opening of the 2001 Biennal of Arts in Valencia. Besides, his career is jam-packed with awards and grants, e.g., Deutcher Akademie in Berlin (1986), Premi Ciutat de Barcelona for International Projection (1996), Premi Ciutat de Barcelona of Music (1993), Creu Sant Jordi of Catalunya's Generalitat (1999) FAD (1998), Premi Nacional de Composició de la Generalitat de Catalunya (1990), Premio MAX for the best soundtrack (2000), Premio de la Crítica de Barcelona for Ricardo i Elena as the best musical show, Premio MAX 2001 for the best composition and musical direction for Ricardo i Elena, etc. In addition to his scenic and musical productions, his interest in plastic arts, clearly shown in his scenographies with Mariaelena Roque, led him to exhibit his photos and poetic texts in different museums and art galleries, many of them being inspired by his own performances. This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => untitled-18 [to_ping] => [pinged] => [post_modified] => 2019-08-02 12:52:00 [post_modified_gmt] => 2019-08-02 10:52:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6530 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 519 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6562 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => All music composed by Alvin Curran, produced by Alvin Curran, executive producer John Zorn associate producer Kazunori Sugiyama mastered by Scott Hull at Hit Factory Mastering, NYC This CD is a compilation of first time releases including selected fragments of orchestral, choral, solo keyboard, electronic and installation works created beetween 1987-2003. I am known for this, that and the other-other, but behind my attempts to transform the earth's entire landscape into a concert hall, there is and always has been a steadfast composer of notes and bening anarchy. Lost Marbles is both an insider's guide and a crash-course intro to my music-music created mostly in prominent experimental back rooms for single occasions and never heard from again. So I decided do make my own musical sapler including fragments of significant musical events from the middle '80s to the present whichI felt would make coincise but essential exposé if not a self-portrait, bringing myself and my public up to date with musics that toured briefly with world-class dance companies or theater groups, or resided in complex and expensive installation that lasted the length of a festival. True, most of these pieces had durations spanning aminimum of thirty minutes to over five hours, but here the chosen snippets arepresented as the antipasti and the main course all in one. Excepting four electronic and improvised pieces, all the music is conventionally written on paper with pen and ink - Alvin Curran (Rome, January 15, 2004). [post_title] => In hora mortis [post_excerpt] => Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms. Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 100 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention. THE MAIN STORY With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of work -- an ideal synthesis between the concert hall and all sounding phenomena in the world. In 1990, he begins a visually striking series of sound installations, in collaboration with Melissa Gould. Throughout these years he continues to write a significant amount of music for acoustic instruments. TEACHING From 1975-80 taught vocal improvisation at the Accademia Nazionale d'Arte Drammatica (Rome) and since 1991 has been the Milhaud Professor of Composition at Mills College in Oakland, California. FORMATIVE YEARS Born December 13, 1938, Providence, Rhode Island. From five years: piano lessons, trombone, marching bands, Synagogue chants, Jazz, and his father's dance bands. Becomes an artist at age 13 in an apple tree at the house of his lifelong friend, poet Clark Coolidge. Hears Spike Jones, the Rhode Island Philharmonic, Satchmo, The Boston Symphony Orcherstra, Art Tatum, Charlie Parker, The Band of America, Thelonius Monk, Gerry Mulligan, Miles Davis, Coltrane, Bartok and Christian Wolff. Studies composition with Ron Nelson (B.A. Brown University 1960) and with Elliott Carter and Mel Powell( M.Mus., Yale School of Music l963). During summer vacations, plays European crossings with the "Brunotes" on the Holland American Line, in a Greek Dance Band in the Catskills, and in the Dunes Hotel in Las Vegas. Continues studies and friendship with Carter in Berlin (1964 Ford Foundation Grant), meets Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Rzewski. Goes to Darmstadt, hangs with Babbitt and Earl Brown, hears Stockhausen and Ligeti. Goes to Rome with Joel Chadabe and plays piano in bars on via Veneto, meets Franco Evangelisti and Cornelius Cardew. In the MUSICA ELETTRONICA VIVA years (1966 -1971 in Rome), performs in over 200 concerts in Europe and the USA with Teitelbaum and Rzewski, Carol Plantamura, Ivan Vandor, Alan Bryant and Jon Phetteplace; and makes significant artistic encounters with: Giuseppe Chiari, Edith Schloss, AMM, Cardew, Steve Lacy, Michelangelo Pistoletto, Steve ben Israel, Anthony Braxton, Simone Forti, Steve Reich, Joan LaBarbara, Michael Nyman, La Monte Young, Trisha Brown, Ashley, Behrman, Gordon Mumma, Alvin Lucier, Larry Austin, Bill Smith, Ketoff, Robert Moog, Nuova Consonanza, MEV2, Meme Perlini, Mario Ricci, Maria Monti, Prima Materia, Ron Bunzl, Phil Glass, Charlemagne Palestine, Terry Riley, George Lewis, Evan Parker, Gregory Reeves, Serge Tcherepnin, Kosugi, Pulsa, Maryanne Amacher, John Cage, David Tudor, Morton Feldman. Scelsi becomes his friend and mentor. PRIZES AND AWARDS Bearns Prize, BMI award, National Endowment for the Arts (twice), DAAD (Berlin residencies 1963-4 and 1986-7), Ars Acoustica International (WDR), Prix Italia (special award l988), Premio Novecento (city of Pisa), Fromm Foundation (Harvard University), Hass Family Award (San Francisco), Meet the Composer (assistance to many concerts), Leonardo Award for Excellence (1995), Guggenheim Foundation (2004). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => in-hora-mortis [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:24 [post_modified_gmt] => 2015-01-09 16:03:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6562 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 552 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6594 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Spectral Edge Study #3 [post_excerpt] => Ted Apel is a sound artist whose sculptures and installations focus on the audio transducing element as the source of visual and sonic material. He has exhibited his work at sound art festivals and exhibits including the SoundCulture 96 festival in San Francisco; the Ussachevsky Festival in Claremont, California; the EarArt Sound exhibit in Chico, California; the Sinusoidal Sound Art Show at SFSU; the Audio Art Festival in Krakow, Poland; and the Sound Symposium in St. John's Newfoundland. He was twice a prizewinner at the Bourges International Electroacoustic Music Competition for his sound installations. And his sound installation received an honorary mention at the Prix Ars Electronica 2001. Ted Apel studied electroacoustic music at Dartmouth College with Jon Appleton, Larry Polansky and Christian Wolff. He is currently teaching computer music as adjunct faculty at the Boise State University Department of Music. 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