Hypersounds Event V
online events of music, media and sound art
Event V - Solo instrumental Works
January 29 2021, 10.00pm (UTC+1)
I. Ennio Morricone
Viktoriia Vitrenko, Voice
II. Tiange Zhou
Mari Kawamura, Piano
III. Luciano Berio
Sequenza per flauto Solo
Valerio Fasoli, Flute
IV. Bengt Hambraeus
Marco Bidin, Organ
Sayaka Toyama, Assistant
V. Ennio Morricone
Viktoriia Vitrenko, Voice
Artistic Direction: Marco Bidin
Ennio Morricone - Wow
A piece by Ennio Morricone "Wow " for a female voice is written in the best traditions of vocal experimental music, putting it on a deserved pedestal with such classics as "Aria" by John Cage and "Sequenza III" by Luciano Berio.
The piece has everything: from intricate virtuoso passages, through roughly sluggish instrumental valse to some archaic operatic elements. One could definitely read out a storyline which evolves within and beyond its augmented shape. Absolute fun to perform it!
Tiange Zhou – One Day
I believe everyone has experienced a day in their life, which was so powerful and overwhelming. It charged the person who encountered it to respond, in the way she/he believed necessary and meaningful.
When the moment was significantly powerful, we often forget the small details. Still, we remain in the patterns, shapes, or shadows in our memories, even though the influences are indelible in our lives.
Luciano Berio - Sequenza per flauto Solo
The Sequenze by Luciano Berio are a milestone in the musical repertoire of the 1900s. Sequenza I for solo flute, published in 1958, is the first of the series. It is dedicated to Severino Gazzelloni, and is premiered in the Darmstadt Ferienkurse.
The term sequence derives nominally both from mathematics, where it indicates a succession of data or functions, but also from music, where the sequence was a particular musical form of Gregorian chant, in which texts were articulated on melodies given by the rhythm of the text itself, therefore without a precise time indicated.
When serial music had a very important role in Europe, claiming to define one or more preordained structures, so-called series, within a piece, Luciano Berio proposes a system in which the notes of a piece and their duration have a value only as melodic succession. In particular in the Sequenza for solo flute, within a time that is no longer musical but physical that inexorably beats its flow like a clock and in which beat and upbeat have no more meaning, the notes follow each other in sequence creating melodies and musical phrases that range throughout the instrument's extension and play with the three dimensions of the surrounding space at times with marked rhythmic verticality with vectorial direction.
The sound's spatiality is a fundamental concept for Berio and will lead to the definition of "Klangwand" and vertical orchestra. To better emphasize these physical-mathematical aspects, the recording was made in a church and in a single take, to allow the sound to expand at best without artificial interruptions, perceptibly in three dimensions and with an appreciable sound evolution time.
Bengt Hambraeus – Interferenzen
Bengt Hambraeus counts as one of the pioneers in the research for extended techniques on the pipe organ. His work “Interferenzen”, composed in 1961-62, makes extensive usage of clusters, performative registration (composed and notated actions of pulling-pushing the organ stops) and emancipates the role of the assistant.
With “Interferenzen”, Hambraeus reinvents the organ as a primordial synthesizer. This work merges the form of the late-romantic symphonic organ compositions with the 20th Century aesthetics, especially the (at that time) new aural phenomena experienced in the Electronic Music Studios.
Viktoriia Vitrenko is a Ukrainian conductor, singer and cultural activist.
In 2017 - 2018 she was seen on stage of the Ukrainian National Theatre as well as Casco Theatre as part of the "Opera Forward Festival" of the Dutch National Theatre. In 2018-2019 she took over the musical direction of the project "Motor City Super Stuttgart" with Schorsch Kamerun, Stuttgart Philarmonic etc, lad the Youth Ensemble for New Music BW and the Divertimento Ensemble (Milan). In 2019, she released her debut CD „Scenes“ on AUDITE with chamber vocal music by György Kurtág, which received, a.o., Supersonic Pizzicato and was nominated for the Preis der Deutschen Schalplattenkritik and International Classical Music Awards.
She is a co-founder of the InterAKT Initiative e.V. an interdisciplinary group of artists based in Stuttgart, and the Mixed Sound Personnel for voice, percussion and electronics.
Born in Padova, Italy, Valerio Fasoli started very young his cooperation with "I Solisti Veneti di Claudio Scimone", where he could play with world-famous musicians, but more where he could learn a unique way to intend and live the music. In 1997 he started playing with the Orchestra Sinfonica di Savona, president Carlo Maria Giulini, conductor Filippo Maria Bressan.
Together with the humanities high school, he studied flute firstly with Clementine Hoogendoorn Scimone, then with Raymond Guiot, Janos Balint and Arife Gulsen Tatu, and took part in masterclasses with Aurele Nicolet, Peter-Lukas Graf, Jean-Claude Gerard, Karl-Heinz Zoeller, Rien de Reede, Marzio Conti, Ramson Wilson.
2001 he started working with the Ensemble PolyphonieT, conductor Manfred Schreier, and he began an intensive activity as soloist and chamber musician, playing from baroque to new music.
2007-2009 he was flute teacher at the University of Music Trossingen in Germany and since that he is regularly invited for workshops and masterclasses in universities worldwide. Very interested in supporting young composers, for his performances are composed at least five new works every year.
In the year 2010, he founded the Accademia di Musica di Taggia, of which he is Artistic Director.
In 2012 he set up the "EnsembleSolisten "chamber orchestra, of which he is the conductor and artistic director, and with whom he got a fantastic critical success already at the first concert.
Since 2014 he is Faculty Member of the Narnia Arts Academy International Summer Training Program, Narni, Italy. In 2015 he set up the Pasquale Anfossi Institute, dedicated to the study and the performance of the important Italian composer's repertoire. 2016 he set up in Stuttgart the Molique Gesellschaft, an institution dedicated to the romantic composer, supported by the City of Stuttgart.
He is regularly invited worldwide for concerts, masterclasses and as a jury member in international competitions.
Japanese pianist Mari Kawamura has given concerts around the world performing music by Xenakis, Cage, Takemitsu and others.
An avid advocate of new music, she has collaborated with and premiered compositions by many living composers, including works by Joseph Bourdeau, Annie Hui-Hsin Hsieh, Anthony Vine, and Tiange Zhou.
Marco Bidin is a composer, organist and harpsichord player.
He completed the Composition and Computer Music studies at the HMDK Stuttgart. He also studied Organ, Early Music Performance, and Contemporary Music Performance.
He has been invited to hold masterclasses and conferences at institutions such as IRCAM (Paris), Lisboa INCOMUM (Portugal), Pai Chai University (South Korea), Silpakorn University (Thailand), Shanghai Conservatory (China) among others.
Marco Bidin is the Artistic Director of the cultural association ALEA. He performed as a soloist in major international festivals, and his compositions have been premiered in Europe, Asia and Canada.
Born in China in 1990, Tiange Zhou is a composer, photographer, designer, and improvisational dancer. She is interested in interactive audio-visual art and other integrated art forms. Her acoustic compositions, electronic works, and installation art pieces has been performed and exhibit through Asia, Europe and North America. She is also invited as a speaker to present her research on audiovisuality at Ircam Forum Shanghai 2019.
Tiange is pursuing her Ph.D. in composition at the University of California, San Diego, where she studies with Prof. Roger Reynolds for composition. She completed her master's degree at Yale University and a Bachelor's degree at Manhattan School of Music. She also completed an exchange program at Staatliche Hochschule für Musik und Darstellende Kunst, Stuttgart.
Besides independent projects, Tiange participates in numerous collaborative projects with artists and scientist in different genres. She has done several projects about contemporary social psychological dilemmas, which she concerns.