Concert 2 Program

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PROGRAM:

Jay Batzner (b.1974)
ALL THE BROKEN INSTRUMENTS for percussion solo & electronics (2015)  World Premiere

All Our Broken Instruments for speaking percussionist and live electronics is based on the poem “May Our Young Find Music In All Our Broken Instruments” by Robert Fanning. The percussionist narrates the work while performing on broken/modified instruments (flower pots, metal coils, and samples triggered by a MalletKat). All Our Broken Instruments draws musical influence from the works of Robert Ashley and the music seeks to create the mood of being in a dusty old barn which contains broken down machines, among them a grand piano which has become the home for spiders.       Andrew Spencer, percussion

Andrew Spencer
Andrew Spencer

 

Garth Paine (b.1962)
GLISTENING EDGE for solo percussion & electronics (2015)  World Premiere


Glistening Edge treats the piccolo snare drum as a resonating textural continuum. The crack of a sfortzando rim shot produces a simmering immersive soundspace and invites the performer to dialog with the algorithmic processing that unfolds. The work includes a range of realtime processing of the snare and bass drum and a few long cross-synthesis textures derived from original recordings of the instruments during the composition process.
Simone Mancuso, percussion

Garth Paine
Garth Paine

Kotoka Suzuki (b.1971)
IN PRAISE OF SHADOWS for 3 paper performers (2015) World Premiere
Arizona Contemporary Music Ensemble: Lisa Atkinson, Arian Abdollahi, Bryan Hummel, paper sheets

Kotoka Suzuki
Kotoka Suzuki

 

————— INTERVAL —————

 


Diemo Schwarz (IRCAM, Paris), electronics, video

Photo credit: Shun Kambé
Photo credit: Shun Kambé

Improvisation I

Playing the Sound Space

The piece is an exploration of different collections of sounds, made accessible by the technique of corpus-based concatenative synthesis, where sound segments are laid out in a multi-dimensional space of sound characteristics obtained from automatic audio descriptor analysis.
 Playing this sound space means navigating through it with the help of gestural controllers that lets the performer reconquer the expressivity that has been lost in many laptop-based performances.  Stroking an XY-pad, scratching contact-mic equipped surfaces, shaking a tablet computer are all possible gestural interactions that bring back the immediacy of physical action and sonic outcome.
 The performer re-combines prerecorded or live-recorded sound events into new rhythmic and timbral structures, simultaneously proposing novel combinations and evolutions of the source material. The metaphor for composition is here an explorative navigation through the ever-changing sonic landscape of the corpus being built-up from live recording.
Despite the startling nature of some of these sounds, the use of corpus-based concatenative synthesis techniques in the performer’s CataRT system makes it possible to compose smooth evolutions and soothing combinations of timbres, thereby reflecting on the inner qualities of these sounds that are richer than they appear when we just let them float by.

 

Improvisation II

Diemo Schwarz (IRCAM, Paris), electronics
Garth Paine (ASU), flute
Justin Kennedy (ASU, Composition DMA student), Mongolian throat singing
Simone Mancuso (ASU), percussion


Justin Kennedy
Justin Kennedy