Spur

für streichquartett und klavier

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
Type
Thematic tags
Conductor No
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin2
Viola1
Cello1
Musicians Instruments
Keyboard 1
Piano
Other instruments and playing techniques
Equipment
Sound electronics
Visuals

Notes

Programme notes
Technical specs
Additional 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
Type
Thematic tags
Conductor No
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin2
Cello1
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.

Technical specs
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

Composer Tiensuu , Jukka
Duration 14 min.
Year of composition 2008
First performance (year) 2009
First performance (venue) Helsinki
First performance (performers) Avanti!
Submitter The Chamber Orchestra of Lapland
Publisher
Type
Thematic tags
Conductor Optional
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin2
Viola1
Cello1
Double-bass14-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
Visuals

Notes

Programme notes
Technical specs
Additional 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
Type
Thematic tags
Conductor Obligatory
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin1
Viola1
Cello1
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

Technical specs
Additional notes

The piece is release on CD at Phono Suecia. http://itunes.apple.com/se/album/unheard-of-again/id302972329
For further info please contact: info@fridandfrid.com

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
Type
Thematic tags
Conductor Optional
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Viola1
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.

Technical specs
Additional notes

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
Type
Thematic tags
Conductor Optional
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin1
Viola1
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

Programme notes
Technical specs
Additional 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
Type
Thematic tags
Conductor No
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin1
Clarinet 1
B-flat
Musicians Instruments
Percussion 1
Vibraphone (F3)
Keyboard 1
Piano
Other instruments and playing techniques
Equipment
Sound electronics
Visuals

Notes

Programme notes
Technical specs
Additional notes

Odludium

for violin, clarinet, piano, percussion and tape

Basic information

Composer Pęcherzewska-Hadrych, Anna
Duration min.
Year of composition 2006
First performance (year)
First performance (venue)
First performance (performers)
Submitter Kwartludium +
Publisher
Type
Thematic tags
Conductor No
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Musicians Instruments
Other instruments and playing techniques
Equipment
Sound electronics
Visuals

Notes

Programme notes
Technical specs
Additional 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
Type
Thematic tags
Conductor No
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin1
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.

Technical specs
Additional notes

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
Type
Thematic tags
Conductor No
Soloist(s) ,

Instruments

Musicians 1st player 2nd player
Violin1
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.

Technical specs
Additional notes