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.
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​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 Sou​nds 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 Sou​nds 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.


​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




​PAST PROJECTS

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​Real Collective Madness Collective

Three musicians and interdisciplinary performers, Marko Ivic, Solomiya Moroz and Eva Aukes, collaborating on cross genre, multimedia works with other artists using acoustic instruments, live electronics, sensors, and various controllers. Recent collaborations include Les Filles Follen, dancer and choreographer Margherita Bergamo.

​Short Wave Apocalypse or the Box
​ 
Short Wave Apocalypse or the Box is a cross-disciplinary production immersing the audience in the themes of the whimsical, surreal and the apocalyptic as realised through music, dance, video and live electronics. Three musicians and one dancer share music and movement together on stage, when one movement becomes a sound sculpture and brings sound to the next gesture. From shifting video projections of landscapes to changing sonic soundscapes, the hypnotic sound sequence is almost always present like the time that is ticking away, ignorant of the constant moving state of emergency that is just around the corner.
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Short Wave Apocalypse or the Box is a Real Collective Madness production in collaboration with Margherita Bergamo (dance and choreography). In this work performers combine acoustic and electronic instruments, micro-controllers, sensors, toys, movement, acting and video. The performance aims to show society’s obsession with digital technology and militarization through the text of cultural theorist Paul Virilio as a basis for questioning the relationship of our industrialised past to our mediatised present and future. Playing with the elements of drama, fragility, physicality, electronics and video, performers create an atmosphere of subtle and constant sound eruption which prompts the listener to critically engage with the theme.

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Performance of Short Wave Apocalypse or the Box at TheaterZaal, Conservatorium van Amsterdam, June 19, 2015


​Wind, Keys, and Strings
-sonic explorations for accordion, flute, piano and violin-

In January and February of 2013, I will be joining Toronto's Thin Edge New Music Collective and guest artists’ German accordionist, Olivia Steimel for a Canadian concert tour entitled: Keys, Wind and Strings – sonic explorations for accordion, flute, piano and violin. The primary focus of this project will be the premiering and dissemination of two new works by emerging Canadian composers Anna Pidgorna and myself written for this unique instrumentation. We are honoured to have been accepted for an artistic residency at the Banff Centre with Olivia where we will spend two weeks in preparation for the tour which will take us to Calgary, Vancouver, Victoria, Toronto and Montreal and will include performances at Calgary’s Happening Festival of Music and Media alongside renowned ensembles such as grammy nominated eighth blackbird and Calgary’s own Land’s End. Several concerts on the tour will also feature interesting collaborations with local musicians including a performance with guitarist/composer Jeff Younger at Vancouver’s 1067, while the Montreal concert will be co-presented with bass-saxophonist/composer Jason Sharp. This tour was made possible through the generous support of the Canada Council of the Arts as well as the Shevchenko Foundation. 

Sample Programmes




Tour dates, venues and ticket info:

Calgary - January 21, 8 pm, Happening Festival of Music and Media, Eckhardt Gramatté Hall, $15-$20

Vancouver - January 31, 9 pm, 1067, 1115b East Hastings, $5

Vancouver - February 1, 8 pm, CMC Vancouver, 837 Davie Street, $15-20

Victoria - February 3, 7:30 pm,  Wood Hall, The Victoria Conservatory of Music, 900 Johnson St, $10-$15*

*Presented by Open Space Arts Society

Toronto - February 10, 3 pm, Gallery 345, 345 Sorauren Ave, $15-$20 

Montreal - February 11, 8 pm, Sala Rosa, 4848 boul. Saint-Laurent, $10-15









Paysages Éphémères


Paysages Ephémères is based on Italo Calvino’s Invisible Cities; it is centered on five cities from the book: Valdrada, Eudoxia, Leonia, Melania and Olinda.

Paysages Ephémères is a collaboration between Solomiya Moroz (direction and music composition), Julien-Robert Legault Salvail (live video), Marc Genya St-Arnaud (choreographer) and Maxime Boisvert (photography).
 
Research into different types of experimentation with video, music and dance is at the center of Paysages Ephémères. The product of our experimentation is a combination of Calvino’s stories, created music score, video images and choreography, musicians’ and dancers’ improvisations, various video and music processing (MAX/MSP, jitter, ableton live), together they yield a singular vision as realized in Paysages Ephémères.

 The musical score is for 5 musicians (flute, bass clarinet, violin, cello, percussion) with some electronic sound processing. The music is closely linked with interactive video, which also reacts to dancers’ movements (music and dance influence and trigger certain cues in the video).

There is an improvised aspect to the presentation where music and dance as well as interactive video have space for variation during the performance.

Through this project we hope to show elements of social urban life which verge on many themes: invisibility, desire, memory, artificiality, displacement, fantasy, trade, fragility, etc. much like the titles of stories in Invisible Cities i.e ‘Cities and Desire’, ‘Cities and Memory’, ‘Hidden Cities’, etc.


territoires inexplorés contemporary music series 2010:
Carte Blanche Contemporary Keyboard Society
Il tempo italiano
Temps Interrompu

 
territoires inexplorés est une nouvelle série de musique contemporaine fondée par Xenia Pestova et Solomiya Moroz qui vise à présenter le répertoire musical inexploré ou rarement joué des 20ème et 21ème siècles. Il regroupe plusieurs musiciens d'horizons différents et encourage la collaboration entre les différents médias et disciplines artistiques.

Hommage à Scelsi - Projet Hyxos

 
We propose a multidisciplinary concert with music, dance, lighting and staging. The concert is titled Hommage à Scelsi. The program consists of composed pieces by Giacinto Scelsi, intercalated with improvisations inspired by Scelsi’s compositions. The dancer takes certain gestures of Scelsi’s compositions and interprets them in his choreography, as well as dances in the improvisations. A lighting technician is needed to facilitate the staging points of the performance.

 The program is organized in a circular manner between two mouvements of duo Kho-Lo with central pieces: Piccola Suite, Hyxos, and Collective Improvisation. At the end returning with Kho-Lo like at the beginning. This program is chosen based on Scelsi’s signature, which is a simple circle with a line underneath.

 We have already presented a “work in progress” for a small audience, seen in the sound unedited demo DVD submitted. This first production helped us to understand the further steps to take in order to fully realize this project. We hope to present this project in an appropriate venue to a larger audience.

The production is a 55 minute long continuous presentation, with various staging points throughout the show. Because the staging is in diverse sections of the performance space, the audience is invited to choose from a variety of comfortable seating areas.

We have chosen pieces for small instrumental duo groups of flute and clarinet (Piccola Suite, Ko-Lho), alto flute and percussion (Hyxos), solo instrumental pieces (Ixor, Quays, Tre Studi), and arrangements of Krishna e Rhada for vibraphone, flute and bass clarinet. The improvisations are solo, duo, trio, and collective alternating with composed works.

 Scelsi was a unique composer of the Italian Post-World War II period. His music did not follow the forms and classifications of his period, but was often generated through improvisations. He considered himself a ‘messenger’ not a composer. His works could be classified as periods based on the years of his creative output.

Participants :
Solomiya Moroz, Flutes
Krista Martynes, Clarinets
Charles Duquette, Percussion
Jonathan Turcotte, Dance
Tehnician, Lighting

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