Gefle Teater

19.00 Ventil #8 sax, cymbal & eldflöjt
Program
Rolf Gehlaar - Beckenstück (trajectories)
Åke Parmerud - Flutes in fire
Cort Lippe – Music for Hi-hat and computer
paus
Klas Torstensson - Solo - för bassaxofon
Cort Lippe – Music for alto saxophone and computer

Beckenstück (trajectories) är skrivet för 6 förstärkta cymbaler och uruppfördes 1970 av Christoph Caskel i Darmstadt. I denna live - elektroniska komposition uppförstärks ljud som framkallas när olika föremål
slås mot en cymbal. En annan musiker förstärker de ljud som uppstår med hjälp av mikrofoner och reglerar dynamiken och klangernas fördelning i rummet i enlighet med partituret.

Flutes in fire is based on the concept of the composer as an alchemist. With the use of computers and modern studio facilities, the composer of electroacoustic music or sonic art is able to treat the acoustic material as if it was a substance with a constantly redefined morphology. In the piece the basic sonic "substance" is some simple sound of flutes. They are transformed and recomposed in various ways as to give a glimpse of their virtual potential. As the piece evolves, the relatively simple structures reveals new and sometimes surprising sides of their original gestures.

Music for Hi-hat and Computer was commissioned by the American percussionist J. Landy Cosgrove, and premiered in Denmark in March of 1998. The electronic part was created at the Hiller Computer Music Studios of the University at Buffalo, New York using the program Max which was developed by Miller Puckette and whose technical support helped make this piece possible.
Technically, the computer tracks parameters of the hi-hat, such as pitch, amplitude, spectrum, density, rests, articulation, tempi, etc., and uses this information to trigger specific electronic events, and to continuously control all the computer sound output by directly controlling the digital synthesis algorithms. Thus, the performer is expected to “interact” with the computer triggering and continously shaping all of the computer output. Some of the sounds in the electronic part come directly from the composed hi-hat part, so that certain aspects of the musical and sound material for the instrumental and electronic parts are one and the same. Sound material other than the hi-hat is also manipulated in the time domain via time-stretching and granular sampling. Frequency domain FFT-based cross-synthesis and analysis/resynthesis using an oscillator bank, as well as more standard signal processing such as harmonizing, frequency shifting, phasing, spatialization, etc. are all employed. The instrument/machine relationship moves constantly on a continuum between the poles of an “extended” solo and a duo. Musically, the computer part is, at times, not separate from the hi-hat part, but serves rather to “amplify” the hi-hat in many dimensions and directions; while at the other extreme of the continuum, the computer part has its own independent “voice”.
Music for Hi-hat and Computer is recorded on the ICMA/ICMC 2000 CD.

Music for Alto Saxophone and Computer was commissioned by the American saxophonist Stephen Duke, and premiered by him at the 25th Annual Experimental Music Festival in Bourges, France in June of 1997. The electronic part was created at the Hiller Computer Music Studios of the University at Buffalo, New York,  using the IRCAM Signal Processing Workstation (a real-time digital signal processor) and the program “Max” which was developed by Miller Puckette and whose technical support made this piece possible.
The piece is in one movement and makes use of regular/irregular rhythmic and pitch relationships. Metaphorically, I have tried to exploit our rather complicated and intertwined conceptions of humans and machines. We spend a great deal of time trying to discipline ourselves to perform like machines: our ideal of technical “perfection” is something akin to our idea of a “perfectly working machine”. Yet, we also have another entirely negative viewpoint towards anything human which is too machine-like. Furthermore, we seem to have a complicated “love/hate” relationship with machines in general, which is exacerbated by the accelerating replacement of humans by machines in more and more tasks. I am not interested in using the computer to replace musicians, or acoustic instruments. The computer seems best suited to creating new, yet unheard sounds and musical relationships through the exploitation of compositional algorithms in real-time. Finally, it seems that in the future, as our machines continue to become more complicated and sophisticated, we will only become more confused about their roles in our lives unless we make an effort to keep our human relationships as non-mechanistic as possible.

Åke PARMERUD
Born in Lidköping in 1953. He has been working full time with music and multimedia art since the late 70. Tranined as a photographer between 1972-74. Studied music at the University and later at the Conservatory of Music in Göteborg. His works includes instrumental music as well as electro-acoustic compositions, multimedia and interactive art, video and music for theater, dance and film. He is the electroacoustic composer the most rewarded since 1978 at the Bourges Competition. Solo or together with composer Anders Blomqvist, he has performed electronic lives in major parts of Europe, Mexico and Canada. 3 years ago he works as a sound and software designer for innovative interactive installations and his own. Over the last two years he has worked with the Danish art team Boxiganga, developing new interactive video installations and with Canadian choreographers Pierre-Paul Savoie and Isabelle Choinière as a composer, sound and software designer.

Cort Lippe
Studies: Larry Austin, USA; G.M. Koenig & Paul Berg at Institute of Sonology, Netherlands; and I. Xenakis at CEMAMu & University of Paris. Worked eight years at IRCAM developing real-time applications and giving courses on new technology in composition.  Followed composition and analysis seminars: Boulez, Donatoni, K. Huber, Messiaen, Penderecki, and Stockhausen, etc. Composition 1st prizes: Irino Prize, Japan; Bourges Prize, France; El Callejon Del Ruido Algorithmic Music Competition, Mexico; USA League-ISCM Competition, and Leonie Rothschild, USA; 2nd prize: Music Today, Japan, 3rd prize at Newcomp, USA, ; honorable mentions at Prix Ars Electronica 1993 and 1995, Austria; Kennedy Center Friedheim Awards, USA; Sonavera International Tape Music Competition, USA; and Luigi Russolo Competition, Italy. Performances: International Computer Music Conference, ISCM World Music Days, Gaudeamus, Tokyo Music Today, Bourges, Huddersfield. Recorded by ALM, ADDA, Apollon, CBS-Sony, Centaur, Classico, SEAMUS, MIT Press, Hungaroton Classic, Harmonia Mundi, EMF, ICMC2000, ICMC2003, and Neuma. Associate professor of composition and director of Hiller Computer Music Studios of University at Buffalo, New York.

Jörgen Pettersson
Jörgen Pettersson, född 1964, utbildades vid Kungl. Musikhögskolan i Stockholm och studerade ett år för professor Jean-Marie Londeix vid Nationalkonservatoriet i Bordeaux. 1986 erhöll han, som förste saxofonist någonsin, solistdiplom med jetong från Kungl. Musikhögskolan.
Alltsedan 1984 har Jörgen Pettersson haft Stockholms Saxofonkvartett som bas för sin verksamhet, men han medverkar även i andra konstellationer (bl a har han parallellt varit medlem av Stockholms Blåsarsymfoniker) och är en mycket eftersökt solist.
Många verk har specialskrivits till denne nyskapande musiker, däribland saxofonkonserten Labyrinthos, för vilken Arne Mellnäs hösten 2001 erhöll Kungl. Musikaliska akademiens prestigefyllda Stora tonsättarpriset ur Christ Johnson-fonden. Pettersson bryter ofta och gärna gränser mellan gängse konstgenrer och har ett nära samarbete med inte bara tonsättare, utan också koreografer och författare.

Jonny Axelsson
Jonny Axelsson är utbildad vid Musikhögskolan i Göteborg och har diplom i både salgverk och interpretation. Redan under studietiden blev valet av inriktning på kammarmusicerande i olika former en självklarhet för honom och det lade grunden till den personliga och egensinniga hållning hans musikerskap står för  idag. Han har vunnit ett stort erkännande som interpret av nutida musik och är en förgrundsfigur på internationell nivå inom området. Av musikkritiker har han fått stor uppmärksamhet för djupet och dimensionerna i sina uttolkningar.
En  betydelsefull del av Jonny Axelssons verksamhet är i nära samarbete med tonsättare där de genom exprimenterande med klanger, speltekniker och strukturer ger kreativ energi till nya verk, dess utveckling och slutgiltiga version. Detta tillvägagångssätt i arbetet, genom ett ständigt sökande efter det nya, bär han med sig i samarbeten med andra konstformer såsom modern dans och bildkonst.
Konsertverksamheten omfattar soloframträdanden över hela Världen, många på internationella festivaler såsom "Synthése" (Bourges), "Inventionen" (Berlin), "Pan Music festival" (Seoul), "Roaring Hoofs" (Mongolia) och "Sonorities" (Belfast). Bland radioproduktionerna finner man soloinspelningar bl a med BBC, WDR, SRF, HRF, SFB, YLE och SR. Jonny Axelsson har medverkat på ett flertal CD´s som solist och kammarmusiker. Hans solo CD "Percussione Con Forza" utnämndes i musiktidskriften  theInternational Record Review till "bästa nutida musik CD år 2000".
Solorepertoaren består av verk från följande tonsättare:
Y.Q. Arkvik, A. Blomqvist, O. Buck, U. Chin, F. Donatoni, J. Dûris, D. Feiler, M. Feldman, J. Fritsch, R. Gehlar, U.I. Haraldsson, P. Hatch, A. Hultqvist, J. Hørsving, T. Ichiyanagi, K. Jeppsson, F. Johnston, Z. Karkowski, S. Koepf, C. Lindwall, M. Lupone, M. Madani, A. Mássón, M. Miki, I. Nilsson, P. Nørgård, H. Oehring, K. Olofsson, C. Palmér, C. Pasquotti, M. Pisati, K. Rehnqvist, F. Rzewski, B. Rydberg, K. Saariaho, R. Sharman, R. Sierra, V. Staub, K-H Stockhausen, K. Tanaka, K. Volans, C. Wolff and I. Xenakis

///Tillbaka