Basic information
| Composer |
Furrer, Beat |
| Duration |
20 min. |
| Year of composition |
1998 |
| First performance (year) |
1998 |
| First performance (venue) |
Wien modern |
| First performance (performers) |
Ian Pace (Klavier), Arditti Quartet |
| Submitter |
Klangforum Wien |
| Publisher |
Bärenreiter |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | | | Viola | 1 | | | | Cello | 1 | | |
|
Musicians |
Instruments |
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
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Equipment |
| Sound electronics |
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| Visuals |
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|
Notes
The Curious Collection
Basic information
| Composer |
Bång, Malin |
| Duration |
18 min. |
| Year of composition |
2007 |
| First performance (year) |
2007 |
| First performance (venue) |
Gävle Teater, Sweden |
| First performance (performers) |
Curious Chamber players, Sweden |
| Submitter |
KammarensembleN |
| Publisher |
Contact composer |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | | | Cello | 1 | | |
| Flute |
1 |
C
|
|
| Clarinet |
1 |
Contrabass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
Other
|
| Visuals |
|
|
Notes
| Programme notes |
Can music be closely connected to our everyday life? This was the
challenge I took on with The Curious Collection, which can be viewed as a
musical documentary or short stories involving the performing
musicians. Each musician has chosen an object that is of great personal
importance for her/him. The musicians’ individual reflections and
associations to these objects became the foundation for seven different
sections in the piece. In the electronics you can both hear the objects
and fragment from the stories about them. They are also participating
live as visual symbols and as sound objects. The work is at the same
time a small exhibition, a collection of sound reflections and seven
entwined monologues.
|
| Additional notes |
Instrumentation: flute (also wooden salt container), contrabass clarinet (also mobile
phone), percussion (also book about the composer Gustav Mahler), piano
(also tea tin), violin 1 (also beckoning cat), violin 2 (also metal card
holder case), cello (also electric milk whipper) and live electronics.
|
Ikisyyt
Basic information
| Conductor |
Optional |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | | | Viola | 1 | | | | Cello | 1 | | | | Double-bass | 1 | 4-string | |
| Flute |
1 |
C
Piccolo
|
|
| Clarinet |
1 |
B-flat
Contrabass
|
|
| Bassoon |
1 |
Bassoon
Contrabassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
B-flat
|
|
| Trombone |
1 |
Alto
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
|
| Other plucked instruments |
1 |
Other
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
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| Visuals |
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|
Notes
Déjà-vu, over and over again
Thin air ; Tip of the tongue ; Arc-en-ciel ; War against error
Basic information
| Composer |
Frid, Pär |
| Duration |
12 min. |
| Year of composition |
2008 |
| First performance (year) |
2008 |
| First performance (venue) |
Nybrokajen 11, Stockholm |
| First performance (performers) |
Sonanza, conductor Jan Risberg |
| Submitter |
KammarensembleN |
| Publisher |
Swedish MIC |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | | | Viola | 1 | | | | Cello | 1 | | |
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| Sound Electronics: Laptop with Ableton Live and MaxForLive installed. Audio Interface. Mixing Console and 4-8 loudspeakers. For further info and Live Session with included MaxForLive installs contact: info@fridandfrid.com
Optional live visuals projected with beamers from a second computer controlled by the laptop performer. For recent software installs please contact: info@fridandfrid.com |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Through the use of information technique, unlimited possibilities for interplay between sound and picture, between the auditive and the visual, are opened. This interface is where Pär Frid works, and in “Déjà-vu, over and over again” he has started with pictures that stretch from visually weighted scores to the formations of flocks of birds. The arts interplay with or are opposed to nature; electronics extend or contrast with instruments, but also serve as a path into the soundscape of birds and water drops. Frid has himself described the six-movement work as an attempt to reflect on and layer electronic “sound refuse” with birdsong from species that are in danger of extinction. Here, accordingly, one finds a clear consciousness about the situation of crisis in the world today. This takes place with structured means that are built on mathematical calculations, where the music becomes an architecture in aural form (which turns around the Romantic notion of architecture as frozen music), and on impossible optical objects that take on a sonorous form. The visual forms of nature as sound: well, how does a formation of birds actually sound? Program note by Erik Wallrup
|
Resilience
Basic information
| Composer |
Bång, Malin |
| Duration |
7 min. |
| Year of composition |
2008 |
| First performance (year) |
2008 |
| First performance (venue) |
Moderna Museet, Stockholm |
| First performance (performers) |
KammarensembleN |
| Submitter |
KammarensembleN |
| Publisher |
|
| Conductor |
Optional |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Viola | 1 | | |
| Bassoon |
1 |
Contrabassoon
|
|
| Saxophone |
1 |
Tenor
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Crotales
Other
|
| Other instruments and playing techniques |
| Percussion instruments:
Crotale (a1), Ogororo (e) or small gong, Sleigh bells, 2 caxixis (high and low) or maracas, Washboard, Large metal container, Thimble,
Flexatone, Aluminium foil, Chain, Scotch-brite covered with aluminium foil, Large plastic pipe, Hard rubber mallets |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The piece was composed for KammarensembleN’s Sonoscope project for the 50th anniversary celebrations of Moderna Museet, Stockholm. The founding ideas of the music
are influenced by the visual progression in a short film by Gary Hill. Resilient
camera movements and shivering stillnesses, contrasting materials merging slowly
into one another or changing rapidly with sudden cuts.
|
Strapats
Basic information
| Composer |
Byström, Britta |
| Duration |
11 min. |
| Year of composition |
2002 |
| First performance (year) |
2002 |
| First performance (venue) |
Kulturhuset, Stockholm |
| First performance (performers) |
Lena Jonhäll, Tora Thorslund, Anna Lindal, Anne Pajunen, Roger Svedberg, Maria Rostotsky |
| Submitter |
KammarensembleN |
| Publisher |
Swedish MIC |
| Conductor |
Optional |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | | | Viola | 1 | | |
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| Piccolo trumpet in A. Percussion: Vibraphone, cowbells, campanelli, piatto sospeso, maraccas. |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
Glance of the light
Basic information
| Composer |
Stulgińska, Agnieszka |
| Duration |
3 min. |
| Year of composition |
|
| First performance (year) |
|
| First performance (venue) |
|
| First performance (performers) |
|
| Submitter |
Kwartludium + |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Vibraphone (F3)
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
Odludium
for violin, clarinet, piano, percussion and tape
Basic information
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
Mirage
Basic information
| Composer |
Ścibior, Seweryn |
| Duration |
4 min. |
| Year of composition |
2007 |
| First performance (year) |
|
| First performance (venue) |
|
| First performance (performers) |
|
| Submitter |
Kwartludium + |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Marimba
Vibraphone (F3)
Tom-Toms
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Mirage is a brief étude commissioned by Kwartludium and composed in 2007. Its direct inspiration came from the work of Jean-Claude Risset and the exploration of sound illusions which was so characteristic of that composer. Texturally, Mirage is almost entirely based on the illusion of an infinite accelerando (or ritardando), one of the more commonly known "Risset effects". Despite the use of only a dozen pitches or so and a great simplification of form (which structurally draws on the classical four-part fugue), in actual performance Mirage presents a number of difficulties, resulting primarily from the requirement of performing each textural layer with utmost precision, so that the appearance, the culmination and the 'dwindling' of each layer emerging out of the silence are strictly synchronised with all the other layers. The association of this piece with minimal music is to some extent justified, but it should be stressed that the repetitive material has been used here exclusively as a carrier of sound impulses of varying granulation.
|
Rope of Sands
for clarinet, percussion, piano and violin
Basic information
| Composer |
Wojciechowski, Sławomir |
| Duration |
8 min. |
| Year of composition |
2009 |
| First performance (year) |
2009 |
| First performance (venue) |
Warsaw Autumn,Poland, National Philharmonic |
| First performance (performers) |
Kwartludium |
| Submitter |
Kwartludium + |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Tom-Toms
Temble Blocks
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The palaces at Silginy, Prosna or Masuny fall apart as we watch they disintegrate into their basic constituents, into ill-fitting elements. The old cottages, carved out of enormous logs, fall apart, as do the intricate plans made for the day, as do the ideals of young people when confronted with political reality. Walls fall apart after every winter, as do financial empires, as do chapels at Jelenia Góra under the blows of axes, as do pyramids built by earlier and later dynasties. Syntheses, when confronted with actual experience, scatter like pearls from a broken necklace. Village or city streets disintegrate as soon as they are open to the public. Vain expectations, old viaducts and halls hundreds of years old disintegrate into dust. Carriages fall apart while travelling. War memorabilia disintegrate in some backwater (not only in Mazovia), principles (Stoicism, Epicureism) disintegrate when faced with the immediacy of personal tragedy. Government plans for improving the energy security of the state fall apart. Meanwhile, a little further on, old abandoned Jewish tombstones fall into dust. Words disintegrate into sand, into ashes, until all trace of them disappears. Theories usually fall apart by the time of formulating the conclusions. Buildings are falling apart throughout the city of Zabrze. Old stoves and castles of Prussian Junkers disintegrate, as does every material thing. Historical burgher houses, garden furniture from the hypermarket, local mayor’s successes when confronted with the goddess of Justice – they all break up like china thrown against the concrete. All the literary divisions dissolve in the end under the pen of Jan Błoński. All that is left is the grainy, powdery, round, infinite sand, which people later heap into mandalas, twist into whips, turn into sculptures, books, castles, houses and bridges, works of art and ornaments. Arranged out of phrases found in the sandpit of the worldwide web.
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