Tactile Utterances

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Jun 182018
 

Composer/sonologist Roland Kuit encountered the paintings of Tomas Rajlich in 1992. ‘Fundamental Painting’, a minimalist strategy that explores the post-existential nature of the painting itself – its color, structure and surface — it is simply the painting as a painting. Tomas opened Kuit’s eyes to a kind of minimalism that Kuit recognized in his music at that time when he was working with semi-predictable chaotic systems. Kuit began creating works for Tomas Rajlich in 1993 and last year, Kuit released a new piece for Kyma-extended string quartet: Tactile Utterance – for Tomas Rajlich.

The world premiere of Tactile Utterance took place on 23 June 2017 in the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ) for the opening of a special Tomas Rajlich retrospective: Zcela abstraktní retrospektiva. Composed especially for the occasion, Kuit’s three part work Tactile Utterance, expresses 50 years of painting by Tomas Rajlich.

Kuit’s recent research into new compositional methods, algorithms, and spectral music came together in this work. His aim was to capture the process of painting: how can we relate acrylate polymers on canvas to sound? Using bowing without ‘tone’ as a metaphor for brushing a tangible thickness of color; pointing out the secants with very short percussive sounds on the string instruments as grid; dense multiphonics as palet knifes — broadened textures smeared out and disolving into light.

The premiere, performed by the FAMA Quartet with Roland Kuit on Kyma, was very well received.

The Prague recordings

For the recording, made during 15-20 February 2018, Roland decided to record the string quartet alone and unprocessed so he could do post-processing and balancing in the studio. Recording engineer Milan Cimfe of the SONO Recording Studios in Prague used 3 sets of microphones: one to create a very ‘close to the skin’ recording of all string instruments; the second set overhead; and the third set as ‘room’ recording. Kuit took the recordings to Sweden to finish the mix and Kyma processing.

Album art © Tomas Rajlich, Acrylic on Linen, 1990-1991 c/o Pictoright Amsterdam 2018

Tactile Utterance – Roland Emile Kuit
For Tomas Rajlich

1/ BRUSH 00:14:42

From a pianissimo-bowed wood sounds to noise, to an elaborated crescendo ending in a broad fortissimo textural cluster: Kyma extends the string sounds with spectral holds.

2/ MAZE 00:12:06

When walking by a grid, we see it first condensed – then open – then condensed again in both horizontal and vertical directions. The string quartet interprets ‘intersections’ by means of percussive sounds like pizzicato, spiccato, martelé, col legno etc. These sounds are treated as particles copied 100 times with the Kyma system, resulting in a noise wall. A ritardando to the center of the piece allows these particles to be distinguished as single sounds. With these single sounds, Roland made “spectral pictures” that could be smeared to complement the grid lines, followed by an accelerando back to prestissimo particles again.

3/ SURFACE 00:14:59

Multiphonics morphing to airy flageolets and the Kyma system processing the string quartet in algorithmic multiplexed resynthesized sounds, dissolving them into a muffled softness.

Roland Emile Kuit – Kyma

FAMA Quartet:
David Danel, – violin
Roman Hranička – violin,
Ondřej Martinovský – viola
Balázs Adorján – violoncello

Recorded by Milan Cimfe at the Sono Recording Studios Prague

DONEMUS
Composers Voice: CV 229

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Gualtieri & the philosopher in the castle

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Jun 112018
 

In the 1700s, Neapolitan philosopher, Giannbattista Vico argued that students “should be taught the totality of the sciences and arts, and their intellectual powers should be developed to the full” so that they “would become exact in science, clever in practical matters, fluent in eloquence, imaginative in understanding poetry or painting, and strong in memorizing what they have learned in their legal studies”. In his book, The New Science, Vico drew a distinction between il vero — “the true” which is the object of knowledge (scienza) since it is universal and eternal — and il certo, “the certain” which, as the result of human consciousness (coscienza), is particular and individual.

On Friday, 8 June 2018, at the medieval/Renaissance castle Maschio Angioino in Naples, composer Vincenzo Guiltieri presented a Concert-in-the-form-of-a-Reading: Voci da una vita, un’esecuzione live electronics di brani dalla Vita di Giambattista Vico scritta da se medesimo (1728) or “Voices of a life, a live electronics performance of passages from the autobiography of Giambattista Vico (1728)”

Gualtieri’s piece, Omaggio a Vico, featured Gualtieri performing live Kyma processing of texts from Vico’s autobiography chosen and recited by philosopher Rosario Diana.

Live percussion and electronics in Coimbra market square

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Jun 112018
 

Carlos Alberto Augusto‘s new piece — ECOS (Coimbra version) for 6 percussionists and 6 electronic tracks — will be performed for the first time on 23 June 2018 in the old market square in the city of Coimbra Portugal.

Commissioned by Sons da Cidade, a festival that annually celebrates the city of Coimbra (Portugal) as a UNESCO heritage site, Augusto’s ECO will have musicians and loudspeakers distributed in circles along the full length of the 106m square. The electronic tracks were produced entirely in Kyma and are based on processed recordings of melting ice and an old fog horn’s rotating mechanism. Percussion, performed by the Portuguese percussion group Simantra, and electronic sounds will be further processed by the large square’s own natural distinctive resonances and reflections.

Verlingieri in real time

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Jun 112018
 

Composer/sound artist Gianluca Verlingieri utilized Kyma in two new pieces featured in two different events in Italy and UK: a world premiere fixed-plus-live electronics performance in Florence at the Tempo Reale Festival 2018 in May and a fixed-media acousmatic performance in Manchester at the EASTN-DC Week in late June 2018.

Verlingieri presented the world premiere of his 30-minute Requiem da Ballo for live electronics, poet, fixed-media sound projection and custom-made “loudspeaker pipes” in Florence on 26 May at Tempo Reale, the institute founded by Luciano Berio, on a concert named Klang Musica Sperimentale #10 Parola.

The second performance, Suite from Requiem da Ballo, will be 25-30 June 2018 at the EASTN-DC MANCHESTER Festival in Manchester UK. Verlingieri will perform live sound projection in 32-channel surround sound using the MANTIS diffusion system in the Cosmo Rodewald Concert Hall.

Verlingieri teaches electroacoustic composition at the “G. F. Ghedini” State Conservatory of Cuneo, Italy, where he also coordinates the Department of New Technologies and Musical Language.

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