Rew as replay, return, memory,
\n5 explosive memories of invasive poetry: Karlheinz Stockhausen, John Lennon and Pierre Boulez <\/p>\n
Venice, Palazzo Cini at San Vio
\n27 June 2009, 5.00pm<\/p>\n
Fourth session: MOMENTE & MICROPHONY This is clearly an exquisitely, private autobiographical composition \nMikrophonie I<\/strong>, 1964-1965 The work is built round the “microphonic” exploration of a large A film by <\/em>Sylvain Dhomme 1966
\n<\/strong>
\n<\/strong>Momente<\/strong>, 1961-1972
\nMomente 1961-1972 for solo soprano, 4 choral groups, 13 instruments
\nThe members of each choir play tuned instruments in undefined keys<\/p>\n
\nwith a highly symbolic significance, strongly influenced by the
\naspiration to make a work built on the model of a
\nstream-of-consciousness novel. The opera is a suggestive synthesis of
\nvarious “moments” in Stockhausen\u2019s compositional process: the mobile
\nform of the Piano Piece 11, the momentary form of Carr\u00e9, the blend of
\nsound and noise in Gesang der J\u00fcnglinge and Kontakte, and the unstable
\ndetermination\/indetermination of Zyklus. Momente is dedicated to Mary
\nBauermeister, the composer\u2019s second wife (1967).<\/p>\n
\n<\/strong>A film by<\/em> S. G\u00e9rard Patris
\nRehearsals directed by the composer
\n
\nwith<\/em> Martina Arroyo, the choir of the WDR and an ensemble of free-lance instrumentalists
\nwith explanations about the compositional process by the composer
\nParis 1965
\n
\nA programme by<\/em> Luc Ferrari in the series Les grandes r\u00e9p\u00e9titions<\/em><\/p>\n
\nper tam-tam, 2 microfoni, 2 filtri e vari potenziometri, 6 esecutori<\/p>\n
\ntam-tam and its sound potential. This is a massive stereophonic
\nconstruction played by two teams of three performers. The potential of
\nthe objective sound universe is multiplied by the variety of objects
\nthat the performers bring into contact with the bronze mass of the huge
\ntam-tam, generating an incredible quantity of previously inaudible
\nsound qualities.
\nThe material variations are guided by an instrumentalist who moves the
\nposition of the microphone to various close distances to the tam-tam. A
\nthird phase involves filtering the output produced by exciting the
\ntam-tam, while a fourth is the continuous modelling of the dynamics of
\nthe sound produced by elaborating the output from the potentiometers.
\nMoreover, antiphonal devices create dialogue between the emissions from
\nleft and right. The dialogue between the two stereo channels generates
\nthe effect of an overall third voice corresponding to the greater
\ntimbre densities from the convergence of different and similar sounds
\nsuggesting a reception mystically marked by the effects of union,
\nreminiscent of the concept of Schlahtrio.<\/p>\n
\nstudio recording with a brief introduction by the composer
\n
\n<\/strong>
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