ElectroFest 2019

Session 1 @ 4pm

1) Clare Lesser – Metatechnic (2018)

Purely graphic notation is combined with minimal text instructions to create a 20-30 minute substantially improvised work, for two ‘de-preparing’ amplified pianos, with optional additional sound at the performers’ discretion. Extensive use of time-looping, using Ableton, creates an archaeology/archive of sound and traces, whilst playing with the labyrinth of time – past, present and future fuse, hybridising each time a new loop is presented.

2) Clare Lesser / David Lesser / João Menezes – Pole (1969-70) – Karlheinz Stockhausen

Karlheinz Stockhausen Pole (1969-70)

One of the classics of electro-acoustic performance repertoire, Pole was composed for the Osaka Expo of 1970. Pole for 2 players is an exploration of mirror image processes, exploiting the oscillation of material between fixed points utilizing short wave radios and live electronics. The score is written in plus minus notation, which allows for considerable improvisation and performer agency during performance.

Session 2 @ 5:20pm

1) Carlos Guedes / Cristina Ioan / Nikolaj Hess / Laetitia Morais – Untitled 1

Chess is a game of improvised music between Nikolaj Hess and Carlos Guedes, in which no pre-determined structure is used to create the music. Laetitia Morais and Cristina Ioan make the game more interesting and complicated through their interventions with video and flute.

*2) David Lesser / Cristina Ioan Remembrances of Nothing (1995) *

Shortlisted by the SPNM and inspired by the theatre of Samuel Beckett, Remembrances of Nothing is a dark and mysterious interrogatory ‘dialogue’ between a flautist and its pre-recorded ‘other’.

3) David Franzson – fragment, red hook, in-progress

You enter a space, in front of you a grid of speakers covers the space from side to side. From the speakers you hear field–recordings taken at various times at a single location, spatialized to represent the relative location of sound as it was captured. Occasionally, a performer steps in and performs against this topography, ‘naming’ points of interest and mapping connections across space and time, effectively landscaping that which is already there. The audience moves in–between and around the speakers and the performer, experiencing sound as an object in space.

Session 3 @ 7:30pm

1) Carlos Guedes / Clare Lesser / David Lesser / Jonny Farrow / Nikolaj Hess – Panel Discussion (30 minutes)

2) João Menezes – Live Set

Affective Tone aka João Menezes, delves into realms of music and sound, exploring their collective affects and vibrational ecologies. Through collective vibratory relations, sound can generate affective tonalities, in which it contributes to an immersive atmosphere of ecstasy, fear or dread. Within this principle, sound is only a particular vibratory mode of perception through which the production, transmission, and mutation of affective tonality can be thought.

3) Jonny Farrow Time Core#3

Time Core #3 is a new sound work created for ElectroFest primarily featuring two instruments: a sruti box and the Macumbista Benjolin V4, which consists of two oscillators and two rungler circuits. The sounds produced by these acoustic and electronic boxes are sampled live and manipulated using Max/MSP. Although primarily improvised, there is a score for the piece; it is more like a map than a score—a sonic topography to explore, timbral borders in which to roam, a dronespace for your dreams.

4) David Franszen – fragment, red hook, in-progress

You enter a space, in front of you a grid of speakers covers the space from side to side. From the speakers you hear field–recordings taken at various times at a single location, spatialized to represent the relative location of sound as it was captured. Occasionally, a performer steps in and performs against this topography, ‘naming’ points of interest and mapping connections across space and time, effectively landscaping that which is already there. The audience moves in–between and around the speakers and the performer, experiencing sound as an object in space.

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