Circuit Fantôme4-12-petites formes 2024

petites formes 2024

Circuit Fantôme Season 4 Episode 12
curated by Anton Iakhontov (Patrick K.-H.) and Daniel Teruggi,

Fr, 25 October, 2024
18.00-22.00

Pay as you wish

Sa, 26 October, 2024
18.00-22.00

Pay as you wish

︎Vronihof
Veronikag. 24
1170 Wien

Petites formes, acousmatic composition competition.The petites formes composition competition was born from the meeting between Dr Liao Lin-Ni, musicologist from Taiwan at the Sorbonne in Paris and Christian Eloy, composer and composition teacher at the conservatory and the University of Bordeaux in 2012/13. Following a first experience of acousmatic competition with the SCRIME (Studio of Creation and Research in Computer Science and Electroacoustic Music) at the University of Bordeaux (3 CD), Christian Eloy who was the artistic director and Lin-Ni Liao, created the first biennial competition between Taiwan (National Yang Ming Chiao Tung University) and France in 2014. The principle is to make young composers known in these countries, with a selection of 6 winners, not a first and second prize as in most competitions, due to several concerts in connection with partner institutions (Universities and Conservatories). The second edition will see the arrival of Japan and the University of Nagoya before the participation of Canada (McGill) in 2024.Another specificity of petites formes competition comes from the choice of the pre-selection of the finalists by a jury of specialists in each country, but a final in Paris with an international jury in a public concert on a 12-way acousmonium with a vote for the Audience Award. The petites formes competition has therefore distinguished to date around fifty composers and produced or co-produced around fourty concerts and tours in these different countries.
Austria being the first country outside of institutional partnership to invite and produce a petites formes concert for its tenth anniversary, we thank the Floating Sound Gallery, Vronihof hall and Circuit Fantôme, as well as Anton Iakhontov and Daniel Teruggi, for this warm invitation.

Programme

Eloy Christian (France), "The grapes and and the curtain"
12:00 (2017)

The ancient anecdote of this “pictorial duel” between the two painters Zeuxis and Parrhasius, one having painted a child in front of grapes, so realistic that a bird came to peck them, the other, winning the duel with a red curtain so much “truer than nature” that everyone believed they were seeing the real curtain covering the work. The interesting thing resides in the conclusion of this fable: to fool a bird seeking to feed itself demands much less talent than to fool a man who expected to be fooled, an artist as well!
This mimesis, as the Greeks call it, is to some extent the questioning that is central and constant in the history of the arts, of philosophy, of literature, of the theatre etc., from antiquity to nowadays, until Jacques Lacan invented this concept of the appearance and of a semblance more resembling than nature.
For me, electro-acoustic music is particularly open to these thoughts and this allegory of the “curtain and the birds” finds a very concrete echo in our music. This piece adopts and reorganises the elements and the theme of an older piece that played realistic sounds in movement (Doppler effect), some of these sounds being pure and simple recordings and others “imitated”, completely “fabricated” in this idea of representation as Aristotle described it.

Watanabe Rui (Japan), "Migraine"
02:56 (2023)

I have had migraine since childhood. It comes when I don't get enough sleep, or on a rainy day. But it can also come on a healthy sunny day. When it comes, it is always without warning. It’s like the sudden passing of a neighbor over the phone. In this piece, I used sound to express the migraine I experience all the time.
In my case, there is an aura before the headache starts. I used music to express that appearance of the aura that I feel. I created the sound by layering several layers of delays, phasers, and other processing on the sound of recorded keys to express the appearance of small jittery pains.
The small distortion was then followed by a severe headache as if dropped from somewhere. The headache was expressed as both a heavy pain and a throbbing pain with bass and various other sounds, mainly cluttered electronic instruments. During the headache, a mixture of different pains would strike in my head. The pain comes on and off again and again, sometimes strong and sometimes weak, like waves. Not only smooth pain like waves, but also throbbing pain and pain that goes on and on and on. I expressed such pain mainly with synthesizer sounds in the middle part. The tremolo shook the sound from side to side, and automation of the volume made the song more intense.
The second half of the piece expressed how the pain had subsided but was incomplete again. The conga sound and the rhythm were shaken from side to side to express that the pain was still sizzling.
Overall, the piece was created by consciously layering many layers of sound to create a deep sound even within a single note or rhythm.

Li Vivian (Canada), "Memory playback"
07:31 (2023)

This piece explores the potential of sound to preserve and resurrect memories. Unquestionably autobiographical, the recordings within originate from the composer’s personal journey. Within this auditory landscape, fragments of intimacy and souvenirs resurface, albeit in a distorted, almost distant manner, teetering on the brink of utter disintegration. Bits and pieces of memories overlap on each other, creating new imageries and hyper memories.

Sismann Valentin (France), "Loinaître"
05:30 (2023)

Un être, au loin, naître. (A being, in the distance, born.)

Tu Yen-Hao (Taiwan), "A piano experiment"
05:48 (2022)

What I want to achieve is to explore the possibility of the sound of piano and to manipulate the texture of the original sound from the piano. I recorded several sound clips such as splashing, sustained overtones, finger knocking... By only using the sound source from the piano, although there are different kinds of elements, they still connect to each other.

Hsiao Hsiang-Yu (Taiwan), "Creative Ebb: Café rêverie"
02:42 (2023)

This piece predominantly blends morphed soundscapes captured both inside and outside a coffee shop, complemented by various prepared piano effects, to convey the experience of a writer drained of ideas. Acoustic sound clips are introduced in the beginning, gradually transforming and contorting into storms within the mind."

Bonifas Elise (France), "Moisissure"
08:30 (2023)

My piece “Moisissure” represents the movements and frequencies emitted by yeast cells. This project came to mind because being able to hear them allows you to listen to life on a tiny level. The poetry of this meeting particularly moved me. Sonocytology, the term defining the amplification of oscillations of cells at human ear level, allowed me to hear their signals.
Listening to these first sounds, I was inspired for the composition of this piece. I then developed it in time by wanting to make their mode of operation heard, for example via the auditory and visual illustration of the scissiparity - mode of divisions of unicellular beings consisting in doubling in length, then split into two identical cells that separate again. I called this room Mold in order to develop an imaginary around them because the yeast cells are unicellular fungi.

Moisan Alexis (Canada), "Promenade a Montreal"
05:00 (2023)

This short piece illustrates a walk in the city of Montréal.
While the opening moments announce a normal stroll, punctuated by the subtle and ordinary sounds of the nature, people and movement of Montréal, reality is soon distorted, and abnormal sounds progressively disturb the character’s trip and transport us into eerie, bubbly and bizarre sound worlds. This piece inspires the listener to question reality and to discern the real from the surreal.

Chen Yi-Xuan (Taiwan), "Altered states of …"
06:33 (2023)

This work has a very strong beginning and transition, and is mainly divided into two sections. There are many strong cutting points throughout the whole work. After each cutting point, the function of cutting points is to connect the new sections, and serves a way to break down the calm atmosphere of the pieces.
This sound material of the work is produced by sampling electronic noise. At the same time, these virtual and real electronics are combined with daily sound object to enrich the variety of timbral and sonic gesture of the work.

Program selection - Christian Eloy.

Supported by Stadt Wien Kultur + BMKÖS