Un bel ricordo della tournée australiana del 2015, con Due Scene, qui magistralmente eseguita dal Mº Carmine Rizzi 🎻

https://www.youtube.com/watch?v=NFYPLdFfr8U

#soloviolin #violin #violinsolo #contemporarymusic #nicolamonopoli #australia #carminemarcellorizzi #nicolamonopoli #violino #musicacontemporanea #musica #musicaclassica #classicalmusic #musicastrumentale

gramigna / stefano gervasoni. 2022

https://slowforward.net/2026/03/01/gramigna-stefano-gervasoni-2022/

#musicacontemporanea #musicadiricerca

radio rewrite / steve reich. 2012

[youtube=https://www.youtube.com/watch?v=IKOTq5iTDHw&w=625&h=352]

Radio Rewrite, composed by Steve Reich. Performed by Ensemble Offspring for Extended Play, City Recital Hall Sydney, 24th August 2018.

“As part of Sydney’s first ever 12 hour micro-festival (in the style of Bang on a Can’s legendary New York marathons) Ensemble Offspring performs the music of Steve Reich in the stunning acoustic of City Recital Hall.”

incenters / jacob druckman. 1968

[youtube=https://www.youtube.com/watch?v=NVSQOA8bMYU&w=625&h=352]

Incenters (1968)
for 13 Instrumentalists
by Jacob Druckman (1928-1996)

Performers
Arthur Weisberg – Conductor
The Contemporary Chamber Ensemble

Recording: Spectrum New American Music, Volume III. Nonesuch H-71221. 1969.

Request a video here: https://forms.gle/EWyyqpGpVgEtnZjJ9

“The videos on the @regardstoeighthstreet7943 channel are intended solely for educational purposes. I do not own the rights to the score or the performance. If, for any reason, any person or entity feels that this video is in violation of their copyright, please contact immediately [email protected] before submitting a copyright claim to YouTube, and the channel will do their best to remove the video as soon as possible”.

Hablando de Moby Dick, pronto veré esta adaptación a un "Radiodrama escénico" con música de Iñaki Estrada, que tiene buena pinta (lo conozco de hace años pero quería esperar a conocer más la historia y leerme el libro)

https://youtu.be/jdMhme43oAI

#mobydick #musicacontemporanea

strutture simmetriche / robert wittinger. 1969

Robert Wittinger, Strutture simmetriche, per flauto solo, Op.17 (1969)

Willy Freivogel, flauto

Cover image: painting by Karen Jacobs

“Strutture simmetriche per flauto solo” op. 17 was written in 1969 for Willy Freivogel, the solo flutist of the Stuttgart Rundfunk Symphony Orchestra. The work has three sections and is based on three kinds of formal symmetry: retrograde motion in the first part, combinations of passages in the second (scheme: A1 – A6, B1 – B6, A1, B1, A2, B2 . . . A6, B6), and a central symmetry round central notes in the final section, which makes increasing use of pauses as it develops.

Reinhard Oehlschlägel (dalle note di copertina del disco).

#contemporaryMusic #KarenJacobs #musicaContemporanea #ReinhardOehlschlägel #RobertWittinger #StuttgartRundfunkSymphonyOrchestra #WillyFreivogel

kurzwellen / karlheinz stockhausen. 1968

Kurzwellen (Short Waves), for six players with shortwave radio receivers and live electronics, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 25 in the catalog of the composer’s works.

Aloys Kontarsky, piano; Harald Bojé, electronium; Alfred Alings and Rolf Gehlhaar, tamtam with microphone; Johannes Fritsch, viola; Karlheinz Stockhausen, sound direction.

Conception
Kurzwellen is one of a series of works dating from the 1960s which Stockhausen designated as “process” compositions. These works in effect separate the “form” from the “content” by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Kurzwellen and three subsequent works (Spiral for a soloist, Pole for two, and Expo for three), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). While this separate treatment of the genetic rules for development had existed in Stockhausen’s earlier compositions, the emphasis on the process of transformation and less specificity of what is to be transformed is taken further than ever before in Kurzwellen (Stockhausen 1989, 114). The overall formal process is therefore fixed, whereas the sound materials are extremely variable (Frisius 2008, 224). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being “the same” (Kohl 2010, 137). While the use of radios in concert works dates back at least to 1942 with John Cage’s Credo in Us, and Stockhausen may well have gotten the idea of using radios from Cage, their approaches could not have been more different. For Cage, the type of radio is a matter of indifference, since their purpose is merely to fill in prescribed time units with any sort of sound at all. Stockhausen, on the other hand, prescribed short-wave receivers because of their capability of bringing in broadcasts from far away, and for the rich variety of available sounds. These sounds are also not used indiscriminately: the performers are to search for and select only materials suitable for improvisational transformations (Kohl 2010, 135–37).

Performance practice
The composer explained that in pieces like this, “the first step is always that of imitating something and the next step is that of transforming what you’re able to imitate” (Cott 1973, 33). Each performer plays a series of events separated by pauses. An event may be played either with the radio or with an instrument, and it is also possible for a player to accompany an event on an instrument with the radio or vice versa, or to blend both together. Each event has a distinct duration defined by its subdivision into segments with a characteristic rhythm (Rigoni 1998, 235).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or “parameters”): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters. Despite this, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137).

Video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

#AlfredAlings #AloysKontarsky #audio #audiovideo #HaraldBojé #JohannesFritsch #KarlheinzStockhausen #Kurzwellen #musica #musicaContemporanea #musicaSperimentale #processComposition #RolfGehlhaar #video

“secondo duo di follia” for alto recorder and electric violin / gabriele manca

Antonio Politano, recorder
Haesung Choe, electric violin

#AntonioPolitano #audio #audiovideo #electricViolin #HaesungChoe #musica #musicaContemporanea #recorder #video

” alp”, for guitar and paetzold recorder / maurizio pisati. 1995

Maurizio Pisati: “Alp” (1995)
Elena Casoli – guitar
Antonio Politano – Paetzold recorder
(live recording of the first world performing)

#Alp #AntonioPolitano #audio #audiovideo #ElenaCasoli #MaurizioPisati #musica #musicaContemporanea #PaetzoldRecorder #video