EAU er opptatt av å ikke forsøple for mye naturen. Derfor prøver vi nå å lage digitale program.
Program for alle konsertene
KONSERT 1: 19. juni 18:30-19:30
- Kari Telstad Sundet – All Machines Now
Is post apocalyptic dystopia and mass extinction leaving you stressed and sleepless? Don’t worry. Your friendly AI can help. Nothing like a nice soundscape to soothe those frazzled nerves.
Kari Telstad Sundet is a Norwegian composer whose artistic focus is on the visual nature of music and sound, and on the way music can trigger our common associations and memories. She mainly writes chamber music with electronics. Kari makes extensive use of field recordings and archive materials in much of her work. Her music has been performed at festivals such as Borealis,UNM, Bergen Assembly and Sound of Stockholm.
- Louisa Danielsson – Is It For the Government?
Is it for the Government? (4:03) is a piece reflecting on our relation to material progress and development. The material used in the piece was recorded at different building sites around Gothenburg. It narrates a dialogue between machines and humans and how this relationship might develop over time.
Louisa PaImi (b.1995) is a composer, musician and sound artist from Tromsø, Norway . In her work, she combines electronics, electroacoustics and 3D sound technology with dance and live performance. She is interested in how the feeling of space can be transformed by manipulating and spatializing sound. Her music is often based on field recordings and she often investigates social phenomena through the Arctic gaze. She has a Bachelor from the Academy of Music and Drama in Göteborg and has studied under Natasha Barrett and Arve Henriksen. In short time her work has gained recognition and has been presented several places in Europe such as Inkonst (Malmö), Palace of the Grand Dukes (Vilnius), Sentralen (Oslo) Insomnia Festival (Tromsø), 3:e Våningen (Göteborg) and Verona Resona (Verona). She has collaborated with several established artists such as Per Martinsen (Mental Overdrive) and Toby Kassell (Dancer and choreographer). In 2023 she got the title Emerging Artist from the Arctic Arts Festival.
- Martyna Kosecka – Still Life
Still life is a work of art that usually presents an inanimate object and tries to catch its immobilized essence. My composition is trying to capture the nature of the world after the ecological disaster that might occur quite fast if we do not take specific actions to stop this process. I describe three elements as the bitter symbols of the post-apocalypse: our decomposition and fall as human beings (corpse), global warming consequence (grains of sand and dry soil), and overtaking pollution (plastic). The only sounds incorporated in this composition create a still life of a new inanimate world: electronically transformed human breath, sounds of soil and sand, and finally, sounds of raw prerecorded plastic objects.
Martyna Kosecka’s music grows out of her interest in philosophy, physics, linguistics and the mythologies and fables of the world. She is a Polish composer, performer, conductor, curator and researcher in new music. In her projects she works with narratives, microtonality, symbolism and ritualism, by using multidisciplinary solutions. She emphasises the richness of transcultural relationships in art, drawing from the cultures of Iran, Poland and Norway, the countries she has connected through her life. Martyna currently lives and works in Oslo, where she is involved in the curatorial activities of VoxLAB, the Periferien contemporary music concert series and the Norwegian Society of Composers. Since 2018, her compositions have been published by Donemus Holland. Her music is performed at festivals and concerts around the world, including the International Festival of Contemporary Music Warsaw Autumn, rainy days festival, OstravaDays Festival or Music Biennale Zagreb.
- Magdaléna Manderlová – A Forest of Ears
In «A Forest of Ears», Manderlová worked with field recordings, studio recordings of plastic materials and hydrophone recordings. A Forest of Ears is an imagined soundscape where everything tingles, sounds and listens.
Magdaléna Manderlová is a multidisciplinary artist based in Trondheim. In her practice, she likes to think, feel and dream through sound and explores listening as a tool to engage with the world. Inspired by acoustic ecology, she seeks reciprocal ways of relating and often engages with places and environments by walking and spending time with them. Her works in the form of sonic essays, field recordings, participatory soundwalks, site-specific projects, performances, and writings, have been presented internationally. Manderlová is educated in the art academies in Ostrava, Czech Republic, and Trondheim, Norway. She co-runs Røst Artist in Residence program at Skomvær lighthouse, Sápmi-Northern Norway.
- Knut Wiggen – EMS for Sig Själv
Knut Wiggen (1927-2016) was one of the foremost computer music pioneer from Scandinavia, and held important positions in the Swedish music community until he resigned from Elektronmusikstudion (EMS) in 1975. He changed the concert organization Fylkingen to an avant-garde oriented producer of concerts, conferences and events, with a continual focus on electroacoustic music, and planned, established and developed EMS as the first full-scale hybrid studio on the planet. A founding idea in Wiggen’s thinking was that new technology and social circumstances required new musical expressions and composition methods in order to not fall into the aesthetics of the past, and he developed the first object-oriented composition program MusicBox fifteen years before similar software was introduced.
This version of the piece is created from the quadraphonic re-masters by Cato Langnes
- Sigurd Berge – Månelandskap
Sigurd Berge (1929-2002) was a Norwegian composer and pioneer mostly known for his electroacoustic pieces, and his work as a pedagogue. Already in 1967 he developed a small electroacoustic music lab at Sagene Lærerskole. Like his contemporaries Arne Nordheim and Kåre Kolberg he also worked at Studio Eksperymentale in Poland.
Månelandskap means “lunar landscape” it’s a groundbreaking Norwegian work from 1971. It still sounds fresh and original all of these years later. This new ambisonics version is created by Ernst van der Loo.
- Frank Ekeberg – Inflow
Inflow takes as its starting point sound materials recorded above and below water, in liquid and solid form – sometimes recognizable, sometimes heavily processed – combined into a compositional structure that builds on Earth’s hydrological cycle where water melts, evaporates, condenses and freezes. In this cycle, water absorbs, stores and releases energy and distributes energy around the globe via air and ocean currents that lead to warmer and cooler regions and seasons. Even a minimal increase in temperature will disturb this cycle’s fragile balance and affect the distribution of water to areas that will experience lushness, flooding, drought and desertification. This fragility is illustrated in the work by playing on the balance between stability and breakdown, accumulation and disintegration, transformation and constancy. Spatialization and integration of spatial elements are important structural devices in the work, which is composed as a fully immersive, 3D sound environment.
Inflow was created with support from The Composers’ Remuneration Fund, Norway.
Frank Ekeberg is a transdisciplinary artist, music composer and researcher working in the intersection of the natural and the constructed. His work explores issues of ecology, time, spatiality and transformation, with a particular focus on nature spaces and the interplay between human and extrahuman worlds. Ekeberg has composed and designed sound for concert performance, dance, film, theater, radio plays and intermedia installations, and his work is widely presented in festivals, exhibitions, concerts and conferences around the world. He uses almost exclusively field recordings as source material, and site-specificity and integration of spatial elements in the compositional structure are at the core of most of his work. Ekeberg received an undergraduate degree in musicology from the Norwegian University of Science and Technology (NTNU) before he went on to pursue a master’s degree in electronic music at Mills College in Oakland, California, where he studied composition with Pauline Oliveros and Alvin Curran, and a PhD in electroacoustic music at City University London, UK, supervised by Denis Smalley. Frank Ekeberg spends most of his time living and working in Trondheim, Norway.
KONSERT 2: 20. juni 18:30-20:30
- Pink Asbestos (aka Victoria Johnson & Natasha Barrett): live elektronikk, violin, 3D-Lyd / ambisonics, sanntidsgenerert video. Urfremføring.
Electronic improvisation duo Pink Asbestos creates everything in sound and image in real-time. The live and edgy sound is made by Victoria Johnson on violin and Natasha Barrett on live electronics and real-time computer graphics. Computer vision, video capture, and the sum of the audio performance generates and modulates the projected imagery. Pink Asbestos debuts in EAU’s festival with a 24-ch 3D sound projection.
Natasha Barrett is a composer exploring new technologies and experimental approaches to sound in a broad range of contemporary music, including concert works, public space sound-art installations and audio-visual live electronics. She is internationally renowned for her work with live electronics, computers, acousmatic music and use of 3D sound technology in composition. Her work is commissioned and performed throughout the world and has received 29 international awards, many of which are first prizes, including the most prestigious prize available for Nordic composers, The Nordic Council Music Prize, as well as prizes in two Ars Electronic competitions. Over recent years she has also developed her profile as a visual artist, creating numerous works for real-time computer graphics as an integral part of the performance, in composed and improvised works.
In addition to her solo career, she regularly collaborates with performers, visual artists, architects and scientists. Highlights include 3D audio-visual art-works with the USA-based OpenEndedGroup jointly commissioned by IRCAM (FR), EMPAC (USA) and the Ultima Festival (NO), sound-architectural installations in collaboration with OCEAN Design Research Association (NO), science-art applications of sonification in collaboration with the department of geosciences at the University of Oslo (NO), and live electronics collaborations with many soloists and ensembles including Ensemble l’Itinéraire (IRCAM, FR), Norway’s Cikada quartet and Nordic Voices. For more info: www.natashabarrett.net
Victoria Johnson masters the violin’s virtuoso opportunities in adept and innovative meeting with electronics and video. She plays, commissions and produces new music for acoustic and electric violin, she co-creates, improvises and works with artistic interdisciplinary in her musical vocation. Victoria Johnson’s artistic research is leading in its field. She develops repertoire and playing techniques for acoustic and electric violin and electronics in collaboration with composers such as; Henrik Hellstenius, Gerhard Stäbler, Rune Rebne, Øyvind Brandtsegg, Alwynne Prithchard og Stian Westerhus among others. Solo recitals include concerts at the Ultima Festival in Oslo, London Ear Festival, Bergen International Festival, Soundwaves Festival in Brighton, Brass Wind in Bergen, Stavanger Tou Scene, Nordic Music Days in Reykjavik, Illios in Harstad and Borealis Festival in Bergen. Her first solo CD, Suspended Beginnings, was released in June 2012, and produced in collaboration with the composer and laptop musician Diemo Schwarz.
- Mariam Gviniashvili: Free Flow (ambisonics). Norsk premiere.
Free Flow is a fixed media multi-channel composition that uses samples with varying durations and characteristics, sourced from the extensive sound database of the Demiurge audio synthesis engine – a machine learning platform. The Demiurge platform consists of a three-part neural network architecture developed by Roberto Alonso, Marek Poliks, and a team of collaborators at Hong Kong Baptist University. Despite the tight deadline for the commission, I had the freedom to select sound material and determine the direction of the piece, while adhering to specific guidelines for duration and format. Exploring the source material, characterised by transitions from traditional violin sounds to machine-generated, unnatural ones, I opted for droning, glitchy and distorted samples as I wanted the composition to challenge conventional expectations of violin sounds by emphasising power, occasional sharp frequency content and a dynamic development that reaches almost unsettling levels of loudness. In contrast to my typical approach of developing a concept or artistic idea in advance, I let the selected sound material guide the compositional process and shape the structure and dramatic arc of the piece. Originally composed for an 8-channel format, I subsequently created an Ambisonic version of the work, which has been performed in Portugal, Norway, Latvia, Austria, China, Germany, Italy and the USA. The composition was also broadcast on BBC Radio. Free Flow was commissioned by Roberto Alonso Trillo and realised at Notam Studio in Oslo.
Credits:
Demurge developers: Roberto Alonso & Marek Poliks
Demiurge database: Roberto Alonso (Violin)
Mastering: Luis Lopez Fernandez
CD design: OROXO
Producer/Label: Creotz Music
Mariam Gviniashvili works as a sound artist and composer, combining electronics, electroacoustics and 3D sound with visuals and live performance to delve deep into the physical and emotional essence of sound and space. Music has followed Gviniashvili through her life since early childhood. Growing up in Georgia, she sang and played piano, and gradually found her feet as a composer and visual artist while studying composition at the Norwegian Academy of Music. That explains her diverse and unexpected subject matter – distractions during online meetings, as in her piece DAYDREAMING (2022), the “strange cosmic ballet” (5:4) of the audiovisual REVELATION (2021) or the stereo/ambisonic DECONSTRUCTION (2020, honorary mention at Prix Ars Electronica) reflecting on a virus spreading patterns. Festivals, major venues and radio programmes have presented Gviniashvili’s music, including the New York Electroacoustic Music Festival, BEAST FEaST, Transitions at CCRMA, MA/IN , ICMC, Mixtur Festival, ARD Radio Play Days at ZKM, BBC Radio, Ars Electronica, Klingt Gut, In Situ Festival, Heroines of Sound and Ultima Festival.
- Otto Iivari: Liminal (ambisonics). Norsk premiere.
Liminal is an acousmatic composition that delves into the concept of liminality, exploring the sensed coexistence of various alternating and simultaneous sonic spaces. Through the utilization of ambisonic microphone technology, the piece captures and manipulates different aural microspaces, incorporating transformed recordings of small objects and percussion instruments. The piece invites listeners to contemplate the boundaries between different sonic realities and the transformative potential of liminal experiences in spatial music. The sounds were recorded in the Electronic Music Studio of the Estonian Academy of Music and Theatre, and the piece also includes a captured, spontaneous moment of bagpipe playing by Iivari’s former composition teacher, Margo Kõlar.”
Otto Iivari is Finnish electroacoustic composer and a doctoral student in the Estonian Academy of Music and Theatre. His focus lies in the acousmatic, spatial electroacoustic music, designed for multichannel settings and ambisonic systems. Iivari likes to explore the potential of organic sound, emphasizing space and sound movement in his compositions. In his creative work he investigates the interconnectedness of expressive human movement and the perceived movement of sound. His piece Thở won the 2022 Europe’s sixth Student 3D Audio competition in the category of contemporary/computer music and Weightless secured the 2nd place at the 2023 International Sonosfera Ambisonic Competition, the first honorable mention in CIME competition 2023 and reached the finals for Prix Russolo 2023. Otto Iivari is currently conducting artistic research under the guidance of Nikos Stavropoulos and Helena Tulve.
- EAU-live: live elektronikk, 3D-Lyd / ambisonics, video og laserkunst. Urfremføring.
KONSERT 3: 21. Juni 12:30-13:30
- Mathieu Lacroix: Corium I (3D-Lyd / ambisonics). Urfremføring.
Corium is a material that is created from a nuclear meltdown accident, such as during the Chernobyl accident. Its texture looks similar to molten lava and it may be heated up to 2 500 degrees celcius. The radiation is so intense that even decades later it can distort photographies and instantly kill.
Composed with the support of Kulturdirektoratet.
Mathieu Lacroix is a French-Canadian composer and performer working in Norway. He has studied and/or worked with composers such as Natasha Barrett, Hans Tutschku, Kaija Saariaho, Jaime Reis, Ståle Kleiberg, Michael Obst, and Annette vande Gorne. He completed his studies at NTNU, IRCAM, and Musiques & recherches. He has been invited to festivals such as Mixtur, Meta.Morf, Only Connect and Manifeste. His music is performed in over thirteen countries on three continents. He is a member of the Electric Audio Unit with Natasha Barrett and Ernst van der Loo. He also works in Electroacoustic Trondheim, and worked with Trondheim Sinfonietta for 7 years. His PhD was synchronization strategies in mixed music.His music aims to make electronics and acoustic performers react to each other and interpret music together as a living ecosystem. He is an associate professor in composition and music production at Inland Norway University of Applied Sciences. He also works as a producer for various ensembles and bands.
- Ernst van der Loo: Void Population (3D-Lyd / ambisonics). Urfremføring.
Void population is a term borrowed from the field of astrophysics. More specifically it refers to the mapping of ’empty’ spaces between galaxies in our observable universe. But this is not what this piece is about. Actually this piece isn’t so much about anything at all.
Perhaps the piece is just a void for the listener to get lost in.
The sound materials for this piece were generated using the Buchla 200 system and the clone of the Buchla 100 synthesizer at EMS studios in Stockholm, Sweden during a residency in December 2022. “Void Population” was composed during May and June of 2024 in Norway at the composer’s home studio and at Notam’s studio 3.
Ernst van der Loo is a Dutch composer/ performer based in Norway. He studied sound engineering and electroacoustic composition & performance. He obtained a bachelor degree from the institute of Sonology in The Hague, The Netherlands and a master degree at the Norwegian Music Academy in Oslo, Norway.
His main field is acousmatic spatial audio composition in the fixed media format and has created several GPS triggered sounds walks and did sound design for theater.
His work has been played at international festivals in the spatial audio field. Works have been performed at: BEAST FEaST (UK), Klingt Gut (DE), SOSSA 2019 (KR), the New York Electroacoustic Music Festival (USA), ISAC 2023 (IT).
- Michel Redolfi: Desert Tracks (1987).
- Opening, 05’49
- Mojave Desert, 07’11
- Death Valley, 11’26
Commissioned by the California Institute of the Arts (CalArts) and the National Endowment for the Arts.
If we listen accurately, thanks to our eyesight, “L’œil écoute”, does the luminescence of a landscape possibly expand the perception of its acoustics? Does its impact influence the recording approach? This could be the case when the place is as multisensory as the Californian desert: during the Fall of 1987, equipped with one of the first portable digital recorders (PCM Sony), I hit the road to capture some hypothetical hallucinatory desert tones throughout the regions of Mojave, Death Valley and Palm Canyon.
In order to get a 3D depth of field, I often used binaural microphones placed at ear level; then hands free, I could wander unencumbered on intricate terrains. At times, studio microphones on stands were used in the midst of nowhere to capture deep silences. The “Opening” was assembled right away in 1987 at the CalArts Studio, who hosted the project. The other movements were mixed in France in 1988 at the International Center for Musical Research CIRM. The concrete elements are edited unprocessed; the electronic music counterpoint is sparse and bright to express the crude light. The work is dedicated to the founder of CalArts, filmmaker Walt Disney, producer of the documentary “Living Desert”.
New ambisonics versions created by Natasha Barrett.
Michel Redolfi (1951) works as a composer in the fields of electroacoustic music and sound design. His creations, most often structured by experimental technologies, anticipate the listening modes of the future, whether in underwater environments, “Sonic Waters”, or sidereal spaces, “Music On Mars” project.
More generally, natural themes are the preferred terrain for many of his compositions, including “Pacific Tubular Waves”, “Immersion”, “Desert Tracks”, “Appel d’air”, commissioned by François Bayle and published in the GRM Collection.
In California, he founded the practice of Underwater Music by inaugurating in San Diego Bay, in 1981, the first underwater musical transmission for listeners immersed in the heart of the vibration: the creation of “Sonic Waters” opened the way for numerous multimedia concerts at sea and in city pools, produced for festivals such as: the Venice Biennale, The Sydney Festival, Ars Electronica, the Musica festival, La Nuit Blanche in Paris and recently, Ars Musica in Brussels (2018).