Poèmes Électroniques

Poèmes Électroniques 20.4.06 Helmut-List-Halle, Graz Wiederholungskonzert für die Allgemeinheit um 19:00

Presse

Introduction

The Poèmes Électroniques event offers participants a totally new kind of acoustic experience as a counterpoint to the spoken word of the conference. Leading works and technologies in the electro-acoustics sector will be coupled with the acoustic excellence of the Helmut List Hall – unique in Europe – in order to generate completely new acoustic worlds.

By using new acoustic performance technologies the whole concert hall will become a source of sound. The listener is wrapped in sound and confronted with a wide range of different three-dimensional acoustic situations.

The Helmut List Hall was opened in 2003, when Graz was Cultural Capital of Europe, and constitutes a synergy of acoustics, space and light. Leading artists and acoustics experts were involved in the development of the Hall, and as a result the Helmut List Hall forges a link between art and science.

Austrian Vice-Chancellor Hubert Gorbach is patron of the event.

Program

.4.00 p.m. Part 1: Welcome in the foyer of the Helmut-List-Halle

• Small reception with refreshments - Sound installation: „Voices & Piano“ – A mechanical piano interprets voices (P. Ablinger) Voices are analyzed and directrly transformed in a piano score, playes by a robotic piano player, as it plays composition it also works in realtime as a transformation of acoustic signals to notes. - Short welcome speech by Helmut List, CEO of AVL List GmbH

.4.15 p.m. Part 2: Poèmes Electroniques - Acoustic Compositions and Experiments in the auditorium of the Helmut-List-Halle

• Excerpts from 7 individual compositions and experiments will be performed, each between 2 and 5 minutes long

1. “Impulse Response“ (W. Ritsch, 3 min.) One sample makes the sound and the composition. The room is the instrument. Music fills the room and the room fills the music. All information of a room lies in the impuls response. Winfried Ritsch, born 1964 in Tirol, works in Graz as a professor at the University of Music and dramatic arts. His works are Compositions in the field of computermusic for tape, instruments, sound-installations and soloworks with computer. He also works with radio media and internet on telematic and network projects and robotics.
2. “Tide” (K. Hollinetz, 4 min.) Historical electro-acoustic work from the 1980’s. Clouds of sound particles made by granular synthesis flow through the room. Klaus Hollinetz, Electroacoustic Music composer, born 1959, lives and works in Traun/Austria. 1985-87 Studies of Electroacoustic Composition with Dieter Kaufmann at the Universitiy of Music in Vienna. Since 1986 several Electroacoustic works, concerts and broadcasts in Europe, America and Africa, soundinstallations. Electroacoustic Music performer.
3. “DW6a“ Perception of Music and Video (B. Lang, 5 Min.) Difference and repetition in time is the main theme of this composition with a real and a virtual musician projected on the screen. Bernhard Lang was born on 24th of February 1957 in Linz, Austria. After finishing highschool and piano studies at the Bruckner Konservatorium he moved to Graz to study Jazz piano, Arranging and classical Piano. He studied philosophy and German philology.
4. “MITE E-LITE“ (G. Rabl, 2 min.) A microscopic view of a diesel engine from the 1920’s. The sound of a generator creates the impression of being inside the engine. Günther Rabl, 1953 in Linz geboren, studierte Elektroakustik an der Musikhochschule Wien und beschäftigt sich seit 1976 praktisch, theoretisch und kompositorisch mit elektro-akustischer Musik. Seine Arbeiten setzen sich aus Tonbandmusik, Computermusik, akustischen Inszenierungen, Kompositions- und Klangverarbeitungssoftware sowie wissenschaftlichen Studien und Vorlesungen zusammen.
5. “Revue Instrumentale et électronique“ (G. Kühr, 4 min.) Instrumentalists virtually distributed over the room form a constantly moving orchestra. Composed with moving instruments we move between musicians. Gerhard Kühr, Jahrgang 1952, studierte in Salzburg Geschichte und Musikerziehung sowie Dirigieren und Komposition. Weitverzweigte pianistische Tätigkeiten; Dirigierkurse bei Hans Swarowsky und Sergiu Celibidache. Ab 1979 Musikdozent und Solorepetitor am Kölner Opernhaus; Intensivierung der kompositorischen Tätigkeit unter Anregung von Hans Werner Henze. Ab 1984 Engagement am Grazer Opernhaus und intensive gestalterische Mitarbeit beim "Steirischen Herbst". Sowohl als Dirigent wie auch als Komponist erhielt er zahlreiche Auszeichnungen, tritt weltweit auf und wird weltweit gespielt. Seit 1994 unterrichtet er Komposition an der Universität für Musik und darstellende Kunst in Graz.
6. “Hearing Varese’s poème électronique inside a virtual Philips pavilion“ (Based on Varese, 2 min.) A walk through a virtual pavilion, originally designed by Le Corbusier in the 1950’s. As we walk the virtual room moves.
7. “weiss-weisslich 27d” (P. Ablinger) Moving around the room the listener creates an individual composition with his or her path through the room. Peter Ablinger, 1959 geboren in Schwanenstadt Österreich 1974-82 Graphikstudium in Linz, Jazzklavier in Graz, Komposition in Graz und Wien bei Gösta Neuwirth und Roman Haubenstock-Ramati. Seit 1982 lebt Ablinger in Berlin, wo er bis 1990 an der Musikschule Kreuzberg unterrichtete und seitdem als freischaffender Komponist tätig ist.

Approx. 4.45 p.m. End of the event