| Kotoka SUZUKI | "Sift" for violin and computer-realized sound |
11'
|
| Iannis XENAKIS | "Mikka" for solo violin |
4'30
|
| Richard KARPEN | Camera Cantorum |
12'40
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| Richard KARPEN | "Sotto/Sopra" for violin and computer |
14'30
|
Kotoka Suzuki: Sift (2001)
for violin and computer-realized sound
This piece conveys the relationship between two elements of sound: noise and pitch. These two elements are emphasized as separate voices by assigning each to an instrument: noise to tape and pitch to violin. Throughout this piece, the exchange and trasformation of these elements can be heard. All computer-generated sounds are derived from the sounds of the violin used in this work.
The violin sounds were manipulated and recorded for the music of the tape using CLM, Snd, and Pro Tools. This work was commissioned by Music At The Anthology (New York) and was premiered by Carla Kihlsteadt.
Richard Karpen: Camera Cantorum, computer-realized sound (2000)
Camera Cantorum presents a sonic analog of an array of old mirrors, each facet reflecting a different fragment of one of my previous pieces. Old mirrors become cloudy and warped (now magnified, now dim and faded). In this work the materials are often heard through a veil of distance. It’s dusk and you’re looking into an old mirror at the reflection of things that are far behind you. The experience of this work will certainly be different for those who know those compositions of mine from which I have drawn to make the current piece (they include, Life Studies #4 and #5, Sotto/Sopra for violin and computer, Pericolose, un gioro, bellezze, for soprano, choir, and computer). At the same time, those who hear this work first and at some later time hear the older ones, will hear those pieces somewhat differently than they would have had they not first heard Camera Cantorum.
Camera Cantorum was composed in 2000 in Seattle, USA, and Bourges, France. It was commissioned by the Institut International de Musique Electroacoustique de Bourges.
Richard Karpen: Sotto/Sopra for amplified violin and real-time computer-realized sound (1999).
Sotto/Sopra explores the genre of the musical solo using the computer to extend the performer and the instrument. It is a work not so much for violin as for violinist. The merging of person and instrument interests me greatly. Each player is one manifestation of the current state of a continuing history of their instrument. The history is physical, existing as a kind of “body knowledge” which I believe is real and substantive.
The computer part results from the processing of live input of the amplified violin in real-time by programs I created in the SuperCollider language on a Macintosh computer. Since the computer part is “in-sync” with the violin (in the sense that the two are always directly related; they are not necessarily always exactly time-synchronous), the effect is that of a violin with an extended range and with the possibility of sounding many notes and different sound colors at the same time. Stylistically the piece is both dramatic and distant, accessible and oblique. The materials are often declamatory and direct—the very beginning is an example of this—but their development is restricted. The small-scale gestures are rather simple, but they are deployed—especially during the first half—as if they were the scattered pieces of different jigsaw puzzles. Only over time do they resolve through memory into an image. Eventually there are three extended periods of music each based on one of the puzzle pieces, but these too are non-developmental, standing as longer statements of a single idea.
Described by the Seattle Weekly as an "intrepid" violinist, "devoted to the sort of edgy, path-breaking works that give the glossy composers of today's Age of Accessibility hives," Eric Rynes has performed 150 works from the 20th and 21st centuries, in venues stretching across North America and into Europe. These include the June in Buffalo Festival, the Aspen Music Festival, the 2001 International Computer Music Conference (Havana), the Hanns Eisler Preis composition competition concert (Berlin), the Internationales Bodenseefestival (Konstanz), the 2000 Society for Electro-Acoustic Music in the United States conference (Texas), and the Rotterdam Music Biennial; he has given solo recitals at the University of California at San Diego, Universitat Pompeu Fabra (Barcelona), Stanford University, the University of Illinois, and several other locations. Rynes has worked extensively with both established and student composers, and has lectured on composing for the violin at the University of Montana and Washington State University. He received his Master of Music degree in violin from the University of Washington, and previously earned degrees in physics from the University of Chicago and the University of Illinois; in 2000-2001 he studied contemporary violin literature in Paris with Maryvonne Le Dizes of the Ensemble Intercontemporain. He also received private coaching from Irvine Arditti of the Arditti Quartet, and participated in a masterclass with Christian Tetzlaff. As a concerto competition winner, he has soloed with orchestras in Seattle (Bartok Concerto No. 2) and Chicago (Shostakovich Concerto No. 2); he has also performed Giacinto Scelsi's "Anahit" for solo violin and 18 instruments with the Contemporary Group at the University of Washington. As an orchestral musician, he has performed under the batons of Barenboim, Boulez, Comissiona, DePriest, Foster, Slatkin, and many others. His recording of Richard Karpen's "Sotto/Sopra," for violin and real-time computer processing, is available on the Centaur label.
Kotoka Suzuki composes for both instrumental and electro-acoustic as well as for dance and film, with a keen interest in combining visual element and sound. Since her DAAD residency in Berlin (2001-2002), she has been increasingly engaged in producing collaborative audio-visual works with several artists in Berlin.
Artists such as the Arditti String Quartet, Continuum, Le Nouvel Ensemble Moderne (Canada), Earplay Ensemble, and Junge Musik have performed her works. In addition, her works have been commissioned by Electronic Music Studio TU Berlin, Berliner Kuenstlerprogramm DAAD, Sender Freies Berlin (RBB), Music At the Anthology, Le Nouvel Ensemble Moderne, and Continuum.
Among her recent awards include first prize at the 30th Bourges International Electroacoustic Music and Sonic Art Competition in multimedia category (IMEB), Musica Nova International Electroacoustic Music Competition Honor Prize, Russolo Competition finalist, Robert Flemming Prize from Canada Council for the Arts, and Gerald Oshita Fellowship Award from Djerassi Resident Artists Program.
Suzuki received a B.M. degree in composition from Indiana University and a D.M.A. degree in composition at Stanford University, where she studied with Jonathan Harvey (to whom she submitted her Doctoral thesis). She is an Assistant Professor of Music at the University of Chicago since 2004.
(b. 1957) is one of the leading international figures in Computer Music. He is known not only for his pioneering compositions, but also for developing computer applications for composition, live/interactive performance, and sound design.
Karpen currently holds several academic positions at the University of Washington in Seattle: Divisional Dean for Research in the College of Arts and Sciences, Director of the Center for Digital Arts and Experimental Media (DXARTS), and Professor of Music Composition and Theory. He has been the recipient of many awards, grants and prizes including those from the National Endowment for the Arts, the ASCAP Foundation, the Bourges Contest in France, and the Luigi Russolo Foundation in Italy. Fellowships and grants for work outside of the U.S. include a Fulbright to Italy, a residency at IRCAM in France, and a Leverhulme Visiting Fellowship to the United Kingdom. He received his doctorate in composition from Stanford University, where he also worked at the Center for Computer Research in Music and Acoustics (CCRMA). Karpen is a native of New York, where he studied composition with Charles Dodge, Gheorghe Costinescu, and Morton Subotnick.
Karpen's works are widely performed in the U.S. and internationally. While he is primarily known for his work in electronic media, Karpen has also composed symphonic and chamber works for a wide variety of ensembles. Furthermore, he has composed works for many leading international solists such as soprano Judith Bettina, violist Garth Knox, trombonist Stuart Dempster, flutists Laura Chislett and Jos Zwaanenberg, and oboist Alex Klein. Along with numerous concert and radio performances, his works have been set to dance by groups such as the Royal Danish Ballet and the Guandong Dance Company of China. Karpen's compositions have been recorded on a variety of labels including Wergo, Centaur, Neuma, Le Chant du Monde, and DIFFUSION i MeDIA.
Die Voraussetzungen für ein Studio an der Technischen Universität Berlin begannen sich seit dem Amtsantritt von Hans Heinz Stuckenschmidt 1949 als Professor für Musikgeschichte abzuzeichnen. Fritz Winckel, seit 1952 Privatdozent im Fachgebiet Musikgeschichte, bot ab dem Wintersemester 1954/55 die Vorlesung »Studiotechnik« an und ermöglichte die erste künstlerische Studioproduktion für das »Mechanische Theater«, ein Puppenspiel von Harry Kramer, Musik komponiert von Wilfried Schröpfer.
1957 wurde Winckel zum Professor ernannt (Vorlesung »Wissenschaftliche Grundlagen von Sprache und Musik«), 1964 konstituierte sich der »Arbeitskreis für elektronische Musik« mit Boris Blacher, Manfred Krause, Rüdiger Rüfer und Fritz Winckel. Nach dem ersten autarken Tonbandwerk »Skalen 2:3:4« von Boris Blacher (1964) realisierte das Studio unter der Leitung von Tonmeister Rüdiger Rüfer 1966 Blachers »Zwischenfälle bei einer Notlandung« für die Hamburgische Staatsoper und 1970 die »Musik für Osaka«, ein siebenkanaliges Raummusikwerk von Blacher für den deutschen Kugelpavillon auf der Weltausstellung in Osaka.
1975 gründeten Folkmar Hein (neuer Leiter des Studios) und Frank Michael Beyer (Kompositionsprofessor an der Hochschule der Künste (HdK)) die Gruppe »Klangwerkstatt«. Der nachhaltige Erfolg dieser Ära kann in der Fortsetzung des Studienganges gesehen werden, der von TU und HdK vertraglich abgesichert wurde und 1979 zur Berufung von Manfred Krause zum Professor führte. Die enge Kooperationen mit dem Berliner Künstlerprogramm des Deutschen Akademischen Austauschdienstes (DAAD) ab 1979 führte 1982 zum ersten gemeinsamen »Inventionen«-Festival, gebündelt mit einer sich stark ausweitenden Aktivität in der lokalen und internationalen Öffentlichkeit, und zu einer starken Präsenz der DAAD-Gäste im TU-Studio. 1984 gelang durch die Initiative des Gastprofessors Klaus Buhlert und dank einer großzügigen Spende der Firma DEC der Einstieg in die Computermusik (Schenkung VAX 11/780). Die späten 80er Jahre bis heute sind geprägt durch öffentliche Präsenz und hochrangige Veranstaltungsreihen udn zu vermehrter Lehre und Produktion.
Diese Entwicklung führte 1996 zu einem neuen Studio im EN-Gebäude, ideal geeignet für jede Art von Raumbeschallung (seit 2001 erweitert auch mit einem kleinen Wellenfeldsynthese-Array) und Mehrkanalproduktion. Seit SS 2004 ist Stefan Weinzierl Professor und Leiter des Fachgebietes.
Mehr Geschichtsinformationen unter www.kgw.tu-berlin.de/Geschichte/
Printinfo im Buch "Musik..., verwandelt. Das Elektronische Studio der TU Berlin 1953-1995", herausgegeben von Frank Gertich, Julia Gerlach, Golo Föllmer. 445 Seiten im Format 235*170 mm, zahlreiche Abbildungen und Notenbeispiele.
Wolke Verlag, 1996. ISBN 3-923997-68-X