SØS Gunver Ryberg, Shapeshifter



Commissioned by director Evelyn Hriberšek for her Augmented Reality installation 'Eurydike', this music was originally spatialised in realtime on head sets as an intimate experience for individual visitors. 

For this concert, one of the pieces from the installation has been transcoded into an immersive composition for a full audience to experience together. 



Composition and Sound Design: SØS Gunver Ryberg 

Spatialisation: SØS Gunver Ryberg

Mixdown at EMS, Stockholm.

Duration 3 mins

Format: HOA2D

 

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Jonathan Harvey, Mortuos Plango Vivos Voco (1980)

 

"From 1976 to 1980 my son Dominic was a chorister at Winchester cathedral. During that period, and ever since, I have written a number of works associated with that wonderful building and choir. Listening to the choir rehearse, as I often did, with the bells simultaneously ringing above, was one of the mingled impressions which started me on this work: it is entirely based on the boy's voice and that of the largest bell. On this huge black bell is inscribed in beautiful lettering the following text: HORAS AVOLANTES NUMERO, MORTUOS PLANGO, VIVOS AD PRECES VOCO (I count the feeling hours, I lament the dead, I call the living to prayer) The bell counts time (each section has a differently pitched bell stroke at its beginning): it is itself a 'dead' sound for all its richess of sonority: the boy represents the living element. The bell surrounds the audience; they are, as it were, inside it: the boy 'flies' around like a free spirit." 

– Jonathan Harvey, 2005.

 

'Mortuos Plango Vivos Voco' is an 8 channel tape piece that was commissioned by IRCAM in 1980 and completed there using the most advanced spectral processing of the time. It remains a significant piece for many reasons, not least for the remarkable compositional language that emerges from the manipulation of spectral analysis data. The original audio stems for an octaphonic speaker arrangement have been re-spatialised especially for this concert. This rare performance has been made possible by Faber Music and IRCAM archives with the kind permission of Rosa and Anna Harvey.

 

Composition: Jonathan Harvey 

HOA Spatialisation: Cristian Vogel at EMS Stockholm

Duration: 9 mins 

Format: HOA2D ( 8 virtual speakers )

 

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Anders Tveit, ”And the ticks turn into tocks and the tocks turn into ticks”

 

The title of this piece is taken from an answer given by free improvisation guitarist Derek Bailey to the question 

“What happens to time awareness during improvisation?” The title refers not only to my fascination with how we experience and perceive time and duration. 

 

The sound material is based on a number of recordings of mechanical clocks, timepieces and percussion. The piece was composed in 2013/14, commissioned by EAU (Electric Audio Unit) with funding from The Norwegian Composers Fund.

 

Composition and Spatialisation: Anders Tveit

Monologues: Andrew Hill and Myfawny Moore. 

Duration: 12 mins 

Format: HOA2D. 

 

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Cristian Vogel, Acceleration Morphosis – World Premiere

 

Beings that mesh out time 

From deep within the Amazon 

Have methods of acceleration 

Which far exceed our own. 

 

Composition and Sound Design: Cristian Vogel

Spatialisation: Cristian Vogel

Duration 10 mins Format: HOA2D 

 

Special thanks to EMS, Stockholm where this piece was mixed.

 

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Koenraad Ecker, Transparent Bodies, Submarine Roots – World Premiere 

 

...After 3 days at sea, we passed the edge of our continent. We saw the high fences, the maze spiralling along the shore : metal braids and concrete blocks, imposing on the land a separation in the mind. / At night, liquid voices rose up from the depths of the ocean. They had sunk from the womb, straight into the pitch-black belly of the ocean, bird in hand. To survive the weight of the sea, their limbs had grown to tentacles, entangling the seaweed, their mouths transforming into gills to breathe the water. Transparent bodies, submarine roots extending in all directions....

 

The sound material used in this composition was recorded at the Belgian North Sea and in & around Berlin, July-October 2018, using a variety of microphones, piezos & hydrophones.

 

Composition and Sound Design: Koenraad Ecker

Spatialisation: Koenraad Ecker

Duration: 15 mins

 

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Cristian Vogel, WokeSeq – World Premiere

 

What happens in time and space when Global Sequences overlap? 

You'll hear the music of the Higher Orders of Progressive Warriors. 

That's what.

Re-activate space and time. 

Dis-activate hate and bigotry. 

Live in the contest of the moment. 

Wake up!

 

Composition and Sound Design: Cristian Vogel

Spatialisation: Cristian Vogel

Duration 3m30s

Format: HOA2D

 

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Tine Surel Lange, W O R K S F O R L I S T E N I N G (2017- )

No. 2: Roof work

No.10: Water and stones from arctic landscape 

 

In Works for Listening there is a strong focus on listening aesthetics and our psychological categorisation of sound. Surrounding sound environments are created with material taken from everyday life: organic sound sources to a varying degree reconstructed by tone, percussion, noise, resonance and voice layers. The sonic material in "Works for listening" appears as physical and tactile, and often abstracted from their original state. 

Surel Lange’s work with ambisonics is based on mono sound sources placed in space where the development in the material (pitch, filters, frequencies, dynamics) often are connected and emphasised and with vertical movement.

 

Works for Listening is a series of electro acoustic works developed at Notam (Norway), MISC (Lithuania) and EMS (Sweden). 

 

Composition and Sound Design: Tine Surel Lange

Spatialisation: Tine Surel Lange

Duration: 2'20 / 5' 

Format: HOA3D

 

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Banrei, Cholalcho

 

Banrei's work makes use of impulses, bursts, and sirens, constructed from the rejectamenta of the music sampling process. Sources are obscured and listeners are confronted with the primal qualities of the wavelines – roughness, harmonies, shapes. Bursts are an imperative to break apart the authoritatively linear narratives of sound into a collection of simultaneously possible states.

 

The Corrido is a traditional Mexican ballad that rose to popularity during the Mexican revolution. The Corrido became a method of disseminating news, depicting the heroic feats of Pancho Villa and his rebel fighters. Subverted by the drug trade, a new genre has emerged called the Narcorrido. These songs detail the exploits of the cartels and their employees as heroes facing impossible odds. 

 

Cholalcho is a burst study on the popular Narcorrido “El Karma”. The moral of the song is roughly: Karma comes and goes, but nobody can escape the Reaper. Ironically, by the time the song rose to #1 on the Mexican pop charts, its singer, the 22-year old Ariel Camacho, had been slain one week prior in a suspicious car accident. 

 

Concept and Burst Selection: Banrei

Arrangement and Spatialisation: Cristian Vogel

Duration: 6 mins

Format: HOA2D

 

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Cristian Vogel, Invisible Planets

 

Spatialised beyond stereo for the first time, a revisit to the short piece which opens Vogel's 2013 album - 'Eselsbrücke' - a slight homage to the Swedish radiophonic sound art and tone compositions form the 70s, this piece uses complex rippling tones to partially submerge a past vision about mankind's increasingly automated and technological evolution.

 

Composition and Sound Design: Cristian Vogel

Spatialisation: Cristian Vogel

Duration: 3'20"

Format: HOA2D

 

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Music Film:

 

 

 

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Cristian Vogel

 

Cristian Vogel is a long-term innovator in the composition, design and performance of electronic sounds. His independent career in advanced music and audio technology has established him as an outstanding influence in the field of composition for stage, club culture and studio. He has lived in Brighton, Barcelona, Berlin and is currently resident in Copenhagen where he continues to innovate technologically based music and sound at NeverEngine Labs.

music.cristianvogel.com

 

[ Cristian Vogel. Photo by Tanya Goehring ]