Music for Speaking Bellows II is for two micro-tonal accordions and electronics with text based on the excerpts from Cia Rinne’s notes on god and war and notes for censorship, in: Cia Rinne, notes for soloists, OEI Editör, Stockholm 2009, written for duo XAMP premiered at Bludenzer Tages 2019, in Bludenz, Austria. Music for Speaking Bellows II pays homage to multicultural identity of accordion playing and its vernacular roots. In this piece, the identities of the accordion and the accordionists are explored through topics ranging from war to censorship. |
Once I Forgot What Distance Sounds Like was part of PIVOT 2019. Co-produced by the Canadian League of Composers, the Canadian Music Centre, and Continuum Contemporary Music Ensemble. Co-presented with the Music Gallery. Brian Current - conductor. Once I Forgot What Distance Sounds Like is about different kinds of distances in time, space and material quality of cityscape recordings from Lviv, Montreal, Toronto and Copenhagen, which become scored for six moving musicians and 8-channel surround sound diffusion. |
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Arrows That Remain is for String quartet and electronics Composed for Bozzini Quartet as part of Composer's Kitchen 2018 Premiered at Gaudeamus Muziekweek At Kuub Gallery Arrows That Remain is inspired by nineties hip-hop sampling and scratching culture adapted to string quartet playing. The piece gives the illusion of a double string quartet as augmented by sampling, distortions and processing which transform and magnify the playing of the quartet |
artefacts of presence is an extended solo version of artefacts of presence outside of the project Docu_presence, Dejana Sekulic - violin, Solomiya Moroz - composition/electronics archival video used is with permission from the Bohdan Medwidsky Ukrainian Folk Archive. In artefacts of presence, I used transcriptions of archival material to adapt to violin writing and techniques, in order to establish a performative presence of the violinist on stage, I simulated a musical dialogue between the violinist and the protagonists of the archival footage. |
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On Fragments is for saxophone quartet and live electronics composed for Quasar Saxophone Quartet, performed at Gesu Centre de Creativité in Montreal, May 3, 2017 On Fragments engages with work and organisation of labour through musical means. I took the idea of automation and organisation as meta topics to reflect on the work that goes into composition and the work of an ensemble |
Simulacra Studies is for an embodied virtual piano interface. In this piece, the piano and the pianist are becoming hyperreal, simulacra or copies of the original that does not exist. The hyperreality of the pianist is imbued through the use of live video which manipulates various video characters of himself in combination with sampled, processed and hybrid piano sounds. Marko Ivic - performer, also actor in video footage Performed Feb 25, 2017 at Electric Spring Festival, Huddersfield, UK |
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Paysages Éphémères pt.1 from Solomiya Moroz on Vimeo.
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