FLOATING SOUND GALLERY

Vienna

Circuit Fantôme

Season 3 Episode 1

Spacial Special

Octophonic Series
curated by Anton Iakhontov and Daniel Teruggi

July 04 - July 05, 2023 | 18.00-22.00

︎Vronihof
Veronikag. 24
1170 Wien

Information
About the Series

Live performance | Listening sessions

Circuit fantôme is a performance series for octophonic music. It is put together by Anton Iakhontov and Daniel Teruggi and takes place in Vronihof, 1170 Vienna.

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Circuit Fantôme Season 3 Episode 1
Programme

@Vronihof

Overview of Circuit Fantôme Seasons 1, 2 + 3

To celebrate a year of Circuit Fantôme series of octophonic / acousmatic listening sessions and performances, Floating Sound Gallery Vienna starts the 3rd Season with Crème de la Crème - picks from previous and future shows:

Compositions

François Bayle — Cercles, 2000-2001, 13’ 17’’
Christine Groult — Si je les écoutais... , 2008, 18’
Daniel Teruggi — Phonomaggio, 2023, 11’
Patrick K.-H. — Postard 02, 06’ 24’’, Postard 00, 03’ 06’’, Postard 08, 04’ 41’’, 2021-2023
Zeynep Sarıkartal — Pezevenk Herifler, 2022, 03’ 47’’
Anne Germanique — Islande, pt. 1: Asbyrgi, 13’ 57’’
Gilles Racot — Chronomorphoses, movement 2: Fureur étincelles, 06’ 04’’, movement 3: Ombres d’hommes, 04’ 23’’, 2002-2006

What will happen in this Episode?

François Bayle

Acousmonium, acousmatics, acousmathèque, acousmographe, are projects / concepts / tools / terminologies developed by F. Bayle, in cooperation with the team of the Grm which he directed during 30 years.
Since 1997, setting up his own Studio Magison, he has devoted himself to research, writing and composition.

Born in 1932 in Tamatave, Madagascar where he lived for 14 years. Studies in Bordeaux (1946—54). In 1958-60, François Bayle joined Pierre Schaeffer’s Groupe de Recherches Musicales in Paris, and between 1959-62 worked with Olivier Messiaen and Karlheinz Stockhausen. In 1966, Pierre Schaeffer put him in charge of the GRM which, in 1975, became an integral department of the French National Audiovisual Institute (INA). He maintained this position until 1997.

Read more about François Bayle

Composition
Cercles, 13’17’’ / 2000-2001 (cat. 91d)

octophonie

5ème moment de ‘La forme du temps est un cercle’
5th moment of ‘The shape of time is a circle’

Here are some of the figures of time, put into action. There is what presses and flees, - what beats and hammers, - what breaks in wave, - what withdraws, reverses, - what splashes in sheaf, - what trickles in rain, - what flows, by ginning, - what pearls slowly, - what gushes by jerks, - what gyrates in whirlpool, - what evaporates...

In five stages, the listening path accomplishes a journey, going towards its finest grain, and the perception progressively becomes sharper in its appreciation of images and forms.

The transience of the colors, the velocity of the figures will be resolved in a spiral motion (this three-dimensional form of the circle), according to which the initial sound-image (the bells) will be prolonged to infinity in the final sound-image: that of summer crickets in the night of a suspended, dreamy time.

Christine Groult

Christine Groult composes music for concerts, theatre, choreographies, and documentaries. Her work proceeds from an attempt to express emotional realities. She is particularly interested in the poetic potential of sounds (recordings and their transformations) and in novel dramatic sound effects.

Electroacoustic music is her mode of expression. As the KM music group (Kairos Music) in Pantin writes: »This form of composition evolves an indoors sonorous subject matter which creates meaningful images with a connective capacity. She is on the same wave length as the plastic arts and the way they treat matter and space.«

Read more about Christine Groult

Composition
Si je les écoutais... , 2008, 18’

Daniel Teruggi

Daniel Teruggi studied Physics, composition and piano in Argentina. In 1977 he moved to France where he studied at the Paris National Conservatory. In 1981, he starts working at INA (National Audiovisual Institute), at the Groupe de Recherches Musicales (GRM). In 1997 he become Director of the Groupe de Recherches Musicales of INA, position he kept until his retirement in 2017. From October 2001 to 2016 he was simultaneously Director of the Research and Experimentation Department of INA.

Read more about Daniel Teruggi

Composition
Phonomaggio, 2023, 11’

Phonomaggio is a tribute to the Studio of Phonology in Milan, a pioneering institution in electroacoustic work whose name evokes the voice and the search for new languages. Founded by RAI in 1955 by Luciano Berio and Bruno Maderna, it has been an important center of musical thought on the possible uses of electronic tools. Luciano Berio composed there one of the emblematic works of the 1950s, the Thema (Omaggio a Joyce) which pays homage to James Joyce and to the voice of Cathy Berberian who recites chapter 11, Sirens from the Ulysses.

No references, no allusions, a simple tribute through the memories of listening; the captivating voice of Cathy Berberian and the swirling treatments of her voice. A tribute also to the laborious studio-work involved at that time in the composition of "electronic" music, as it was called in Italy and "concrete" as Pierre Schaeffer had baptized it in France. Omaggio allora al maestro Berio.

Patrick K.-H. aka Anton Iakhontov

Patrick K.-H. (aka Anton Iakhontov) collages within the fields of sound installations, live and tape acousmatic and animation exercising cross fertilisation.
Author of music / video for opera / drama / contemporary dance / post-dramatic theatre plays and performances as well as his own works in Russia, Austria, Germany and USA. He has had his music, video and performances presented in more than 200 festivals and series around the world, holding several international awards. In 2009, he created sound-scape for Russian pavilion of 53rd international art exhibition la Biennale di Venezia.

Read more about Patrick K.-H. aka Anton Iakhontov

Compositions
2021-2023:
- Postard 02, 06’ 24’’
- Postard 00, 03’ 06’’
- Postard 08, 04’ 41’’

Zeynep Sarıkartal

Zeynep Sarıkartal (1985, Ankara) is a sound-artist, improviser and researcher. She studied classical Piano in Ankara Bilkent Music School, had her Bachelor from Musicology in Istanbul Yildiz Technical University and her MA in University of Vienna in Ethnomusicology. Since 2010 she is based in Vienna and works as composer, improviser and sound artist in theater, film and multimedia projects, curates events, publishes articles, performs under the moniker ZS ZS.

Read more about Zeynep Sarıkartal

Composition
Pezevenk Herifler, 2022, 03’ 47’’

Anne Germanique

After classical training as a violinist at the Lyon Conservatory, she played in various symphony orchestras and chamber music ensembles, and joined the Lyon Opera Orchestra under the direction of J. E. Gardiner.
She has taught violin for many years and composed a number of pieces published in pedagogical editions.

Read more about Anne Germanique

Composition
Islande, pt. 1: Asbyrgi, 2014, 13’ 57’’j

Gilles Racot

Studies of visual arts in Paris. Musical studies and self-taught exercise of musical composition. Mention at the International Prize for Composition of the Akademie der Künste in Berlin (1970).
Student of Pierre Schaeffer and Guy Reibel at the National Conservatory of Music in Paris (79-82).
Since 1983, free collaborator of the Ina GRM (Musical Research Group), he has produced there several mixed pieces, combining instrumental devices and their transformations by computer, organized on a support. He intervened in this context at the birth of concepts of several sound processing software.

Read more about Gilles Racot

Compositions
2002-2006:

- Chronomorphoses, movement 2: Fureur étincelles, 06’ 04’’,
- Chronomorphoses, movement 3: Ombres d’hommes, 04’ 23’’

Commissioned by the State and Ina-Grm.
Suite in 10 movements.

The title refers on the one hand to studio work on the temporal or morphological transformations of processed sounds, and on the other hand to the experience of time through the organization of materials and temporal forms.

The object of these Chronomorphoses, composed in ten movements, relates in particular to the effects of the perception of smooth times, striated times, pulsed times, reiterations, rhythms and cycles... which are principles of time articulation; and the effects of the more or less strong dilution or fixation of moments of our present. Repetition tending to deny any flow of time, and any flow of time tends to cancel the perception of the present. The work presents itself as a fabric of variations between these different theses, exploring the metamorphoses and shifts or oppositions of the typologies of Time and its very materialization: the sounds.

Each movement is developed by focusing on one of these typologies of time, very closely associated with that of sound matter. The global form is constructed in continuity and with the possibility of a fragmentary listening of an isolated movement. Obviously, nothing is exhaustive here, the idea through the work on sounds often takes precedence over the pure intention of the demonstration.

2. Fureur étincelles (Sparking Fury) (6'04")
Sparking fury takes its origin from one of the last sounds of the previous movement, with now the presence of a long, slowly mobile and grainy trail. The granulosity of the material will be the object in this movement of typological variations; first by transforming the grain into ‘corpuscular textures’. Then gradually, the 'corpuscular' irregularity is disrupted by the tight iterative flow streaks, leading to the general animation of a tight 'rhythmic texture'. The play of iterative interlaced curved flows is a stage before the state of ‘rhythmic figures’ of the following moment. The form of the movement then exposes sets of superpositions of the different variants, before a final material mutation which we will say nothing about.

3. Ombre d’hommes (Shadows of Men) (4'23")
The writing of Ombre d'hommes makes use of cyclic figures. The most permanent of these figures is an undulating continuum of vibrant, calmly pulsating matter. When staring at this sound tapestry, I cannot conceal having immediately felt its closeness to the Oiseau Zen from François Bayle's Three Dreams of Birds. Yet these are two different worlds, in L'Oiseau zen the ‘wall hanging’ is pure and unaltered, perfectly vibratory like the streaks of sand in a Zen garden… In Ombre d'hommes, its profile is cyclical and modulated by instabilities. The Song of the Bird by François Bayle is solitary, imperturbable and untroubled, it is the song of a philosopher beyond doubt. The sound figures of Ombre d'hommes are rather heterogeneous if not contradictory, between short expectant exclamations, choral clouds, floating roulades and passing stridulations... where the forms dissolve and are reborn during this cycle that one could imagine permanent... it's a philosophical vision certainly more skeptical and strewn with shade… even until the final turn.