Luís Antunes Pena (*)
Im Rauschen, cantabile (2012) - 7'17"
For double bass and live electronics [Stereo]
Jakob Krupp, double bass
“Im Rauschen, cantabile“ is a delirium for double bass and electronics base on the piece „Im Rauschen Rot“ for double bass, percussion quartet and electronics premiered 2010 by Edicson Ruiz and the Drumming - Grupo de Percussão.
„Im Rauschen, cantabile“ describes a state of constant tension. An organic tension where uncertainty plays an important role. The sounding environment of the piece is constructed like a two voice composition between melodies and sounds of percussive nature. It describes a movement between abstraction and empirical perception.
Biography
Luís Antunes Pena
Born in 1973 in Lisbon, he is currently based in Cologne after compositional studies in his home town with C. Bochmann, A. P Vargas and later in Essen with Nicolaus A. Huber, D. Reith and G. Steinke.
His compositions result from the intensive work on computer generated structures and reflects his interest in new forms of rhythm, noise and notions of reality / imitation.
2013 was released the portrait CD Terrains Vagues and 2015 the CD Caffeine from the Edition Zeitgenössische Musik / Wergo and the German Council of Music. His music is regularly heard in national and international festivals played by renowned ensembles like the Mosaik Ensemble, Asamisimasa, Nadar, Hand Werk or Remix Ensemble. He founded the trio ruído vermelho with Francesco Dillon (Cello) and Nuno Aroso (Percussion) and is a member of the board of the Cologne New Music Society (KGNM).
Jakob Krupp (Double Bass)
Double bass player Jakob Krupp (*1995) studied at the Hochschule für Musik und Darstellende Kunst Frankfurt with Prof. Christoph Schmidt and graduated with a bachelor‘s degree in 2019. From October 2019 on, he will be part of the International Ensemble Modern Academy in Frankfurt.
He started playing the double bass at the age of twelve in Trier and studied at the conservatoire de la ville de Luxembourg, from where he graduated with the„premier prix“ in 2014.
Since 2016 he is member of the german student orchestra „Junge Deutsche Philharmonie“ and worked as a bass player at the philharmonic orchestra of Mainz in 2019.
He is frequently performing contemporary music around Frankfurt, both as ensemble player and solist, and worked with composers like Brian Ferneyhough, Rebecca Saunders, Heiner Goebbels or Rolf Riehm.
Playing the double bass and also the electric bass, he was interested in jazz music from his youth on. Withseveral jazz ensembles he took part in competition„jugend jazzt“ and won prizes including the concertaward of „Jazztage Dresden“. With own bands, in which he also works as a composer and arranger, he played at many jazz clubs and festivals in germany.
Richard Boulanger
Cloning A Dinosaur from Trapped DNA (2019) - 12'
Live SOLO Modular Synthesizer Performance [Quadraphonic]
Controlled, modulated, and spatialized live by an assortment of theremin, joystick, brainwave, and pressure sensors, this 4-channel EuroRack modular synthesizer solo will feature: three Qu-Bit Nebulae modules (each running and rendering, in real-time, voltage-controlled versions of Boulanger’s classic "Trapped in Convert" Csound instruments, and a suite of new custom “Qu-Bit Csound” orchestras); plus two Thonk Music Thing Modular Radio Music modules (each playing a number of pre-rendered custom Csound orchestras as .AIF audio files); plus, two Audio Damage ODIO modules (allowing for the modular system’s audio to be sent to, and returned from two iPads running two Boulanger Labs Csound for iOS apps - csGrain, and csSpectral, that are being used for real-time Phase Vocoding and other Csound-based audio processing). This newly composed, and completely re-designed solo version of the work was written to celebrate the 40th anniversary of the world premiere of Boulanger’s classic “Trapped in Convert”. "Back in the summer of 1979, when I composed "Trapped in Convert" at the EMS Studio at MIT using Barry Vercoe’s "music11" language, and then revised it at the MIT Media Lab in 1986 to serve as a beta-test suite for Vercoe’s new "Csound" language, I modeled all my sounds on those I would create in my home studio with my ARP 2600 analog synthesizer. Now, some 40 years later, and to celebrate the 40th anniversary of composition, I have been able to return to the modular synthesizer; to come full circle – but this time, I am making Csounds on the modular thanks to the design and commercial availability of the amazing Nebulae module from Qu-Bit Electronics, (the Nebulae is a EuroRack synthesizer module built around a Raspberry Pi running the latest version of Csound under the hood!). And so, as you might well imagine, I am incredibly excited by the fact that this old “Dinosaur” is no longer “Trapped” and I look look forward to letting her loose at the 5th International Csound Conference, here in Italy, and taking her out for a run around the hall!"
Biography
Richard Boulanger
Richard Boulanger, (b.1956) Professor of Electronic Production and Design at the Berklee College of Music, is an internationally-recognized performer, composer, researcher, developer, programmer and the founder of Boulanger Labs. He holds a Ph.D. in Computer Music from the University of California, San Diego where he worked at the Center for Music Experiment’s Computer Audio Research Lab (CARL). He has continued his computer music research at Bell Labs, Stanford's CCRMA, the MIT Media Lab, Interval Research, IBM and for OLPC. Throughout his career, Dr.B. was been a close collaborator with "The Father of Csound" - Professor Barry Vercoe at MIT and "The Father of Computer Music – Dr. Max Mathews at Bell Labs. Boulanger has premiered his original interactive works at the Kennedy Center, and appeared on stage performing his Radio Baton and PowerGlove Concerto with the Krakow and Moscow Symphonies. Dr. Boulanger has published articles on sound design, production and composition in all the major electronic music and music technology magazines; and for MIT Press, Boulanger authored and edited two canonical computer music textbooks: The Csound Book and The Audio Programming Book. His company’s Csound-based iOS apps include csJam, csGrain and csSpectral. For the Leap Motion controller, Boulanger Labs published an app called MUSE and he recently composed and performed a major symphonic work built around these apps called: Symphonic Muse. Among his many grants and honors, Boulanger was a Fulbright Professor at the Krakow Academy of Music. And at Berklee, where he has been teaching for over 33 years, Boulanger has been honored with both the “Faculty of the Year Award” and the “President’s Award.” Boulanger's Philosophy: “For me, music is a medium through which the inner spiritual essence of all things is revealed and shared. Compositionally, I am interested in extending the voice of the traditional performer through technological means to produce a music which connects with the past, lives in the present and speaks to the future. Educationally, I am interested in helping students see technology as the most powerful instrument for the exploration, discovery, and realization of their essential musical nature – their inner voice.”
Guenter Steinke
Arcade (1991/2019) - 11'
For cello and live electronics [Octophonic]
Csound version by Joachim Heintz, with Marijana Janevska, Daria Cheikh-Sarraf, Farhad Illaghi Hosseini, Philipp Henkel, Shadi Kassaee, Dilxat Dawut, Hunjoo Jung
Nigel Thean, cello
"Arcade" has been written in the "Experimentalstudio des Südwestfunks” (in which Luigi Nono worked in the 1980s) in close collaboration with Lucas Fels (violoncello).
It used delays, harmonizers, filters, reverb and a spatialization tool ("Halafon"). In 2002 it has been ported to MaxMSP and in 2010 to PD.
The Csound version was first performed in Sprengel Museum Hannover in april 2019 with Ulrike Brand, violoncello, and under guidance of Steinke who authorized this version as most authentic.
Biography
Guenter Steinke
Steinke studied at the Hochschule für Musik Freiburg during 1984-88, with Klaus Huber (composition), Mesías Maiguashca (electronic music) and Peter Förtig (theory). After his studies, Steinke remained in Freiburg until being appointed to the University of the Arts Bremen as a lecturer in 1996. He continued there as guest professor from 1999 until 2001, then during the period 2002-2003 he was director of the university’s electronic music studio. In 2004 he was appointed as professor of instrumental composition at the Folkwang University of the Arts, where he still teaches. He is chairman of the Ruhr Society for New Music.
Nigel Thean (Cello)
In 2018, Nigel was awarded a prize at the International Karl Davidov Cello Competition in Latvia. Born in 1998 in Malaysia, he began playing the cello at the age of 7. Three years later he was awarded a full scholarship to study at Wells Cathedral School in England with Penny Driver. He is currently a pupil of Leonid Gorokhov at the Hochschule für Musik in Hanover. A keen chamber musician, Nigel plays in various ensembles and has featured in a number of chamber music festivals such as the Mid-Somerset Festival, Hitzacker Sommerliche Musiktage and as a member of the Verbier Festival Junior Orchestra. His discography includes recordings such as Georg Katzer’s‚ Lieder und Songs‘ for DeutschlandFunk.
He has collaborated with many eminent mus cians including Pieter Schoemann and members of the Alberni String Quartet and London Haydn Quartets.
Tarmo Johannes
Dark-warm (2019) - 8'/13'
For DIY contrabass flute, live electronics and audience on smartphones []
Tarmo Johannes, bass flute
The whole realization is written in Csound, played from CsoundQt. The general technique is inspired by "Calls from the Fog" by Enda Bates for flute and electronics. The live sound is band-pass filtered into separate buffers that will be played back and manipulated according to certain rules. No pre-recorded sound is used. In one part of the piece the spectrum of the sound is analyzed and "made audible" by playing the most prominent harmonics as separate sounds. The web based instrument of participants is written using WebAudio Csound and uses a version of Hans Mikelson's wage-guide flute.
Biography
Tarmo Johannes (Bass Flute)
(1976, Tallinn) is an Estonian flutist dedicated primarily to performing contemporary
music. He is founder and leader of ensembles U: (flute-clarinet-violin-cello-piano www.uuu.ee ) and Resonabilis (voice-flute-cello-kannel www.resonabilis.com ) and has played a number of concerts of solo flute repertoire with great success.
In recent years Tarmo Johannes has been actively engaged also with sound synthesis and programming. His main interest is creating algorithmically controlled pieces for live performance, often with audience’s participation. Since 2015 Tarmo Johannes is the main devloper of CsoundQt.
Tarmo Johannes teaches flute at Georg Ots Tallinn Music College (Estonia) and “Audio Programmin Langue”, based on Csound, at the Estonian Academy of Music and Theatre.
Øyvind Brandtsegg
Superstring Theories (2018) - 10'
For solo instrument and live electronics [Quadraphonic]
Bernt Isak Wærstad (co-musician), physical model of a string
over the internet, with one end in Cagli and one end in Oslo
Superstring Theories is based on a physical model of a string, divided between the two musicians. It is a one-string two-player instrument. Each of them has part of the string, can tune it and inject energy into it by means of contact microphones, while the injected energy also resonates in the other musician's part of the string. When one part is tunes, this also affects the tuning of the other part. Each part has it's own resonance circuit, as well as the global one spanning the whole string. This means that some local control over pitch is maintained even when the other part of the string is retuned. For some performances of the piece, the musicians are geographically separated locations, connecting the pieces of the string together over remote network connections, In other performances, the two musicians are located at separate ends of the same room.
Biography
Øyvind Brandtsegg
Øyvind Brandtsegg is a composer and performer working in the fields of algorithmic improvisation and sound installations. Recent writings include Csound: A Sound and Music Computing System (Springer, 2016, with J. ffitch, S. Yi, J. Heintz, O. Brandtsegg, and I. McCurdy). His main instruments as a musician are the Hadron Particle Synthesizer, ImproSculpt and Marimba Lumina. Hadron is an extremely flexible realtime granular synthesizer, widely used within experimental sound design with over 200.000 downloads of the VST/AU version. Brandtsegg use it for live processing of the acoustic sound from other musicians. In this context he has also developed tools for live convolution and crossadaptive processing. As musician and composer he has collaborated with a number of excellent artists, e.g. Motorpsycho, Maja Ratkje, and he runs the ensemble Trondheim Electroacoustic Performance (T EMP) In 2008, Brandtsegg finished his PhD equivalent artistic research project on musical improvisation with computers. Øyvind has done lectures and workshops on these themes in USA, Germany, Ireland, and of course in Norway. Since 2010 he is a professor of music technology at NTNU, Trondheim, Norway.
Richard Boulanger / Steven Yi
Integrating Thought and Time Patterns – Reflecting on Captured Moments (2019) - 15'
A duet by Steven Yi, live coding and Richard Boulanger, live samplin [Quadraphonic]
Integrating Thought and Time Paterns – Reflecting on Captured Moments (2019) brings together the live coding work of Steven Yi, with the live sampling work of Richard Boulanger. Using his extensive instrument library from live.csound.com and the live coding language and system that he has developed, refined, and perfected over the past few years, Steven will generate and transform melodic and rhythmic patterns that will be fed into Boulanger’s modular system where they will be sampled (using the Qu-bit Nebulae2), and “frozen”, “time-scaled”, “granularized” “reversed”, “pitch-shifted” (using the Nebulae module and the csSpectral and csGrain iPad apps), Yi’s patterns will trigger and control Karplus-Strong plucked strings, modal resonators and vocal synthesizers (via the 2hp Pluck, Ring, and Vowel modules) and excite and modulate Scanned synthesis resonators (via the Qu-Bit Scanned modules). And everything will be spatialized, filtered, reverberated, and equalized under the brainwave and biosensor control signals measured from Boulanger head, hands, and heart (using the Instruō Scion and soundmachines Bl1 brainterface modules). This world premiere literally sonifies Yi and Boulanger’s “Mind Models” as they integrate them over space and time.
Biography
Steven Yi
Steven Yi is a composer and programer. He is an Assistant Professor in the School of Interactive Games and Media at the Rochester Institute of Technology. He is the author of the Blue music composition environment, author of the Pink and Score music libraries, and core developer of Csound. He has contributed work on Csound’s parser and compiler, helped to develop Csound’s language design, developed opcodes for Csound, and worked on moving Csound to mobile platforms (Android, iOS) and the web. He also served as the co-editor of the Csound Journal from 2005–2015, and is co-author of the book Csound: A Sound and Music Computing System, published by Springer International. Steven is a long-time supporter of free and open source software for music. He has presented at the International Computer Music Conference, Linux Audio Conference, and Csound Conferences. In 2016, Steven received his PhD from Maynooth University for his thesis work on “Extensible Computer Music Systems.”
Alex Hofmann
65.4 (2019) - 3'30"
Live electronics including digital processing, embedded systems, live coding [Stereo]
Alex Hofmann, halfphysler
Sebastian Schmutzhard, cello and COSMO live electronics
65.4 is a drone piece for live-processed Cello and Halfphysler. Inspired
by the opening of the music podcast 'Klangangriff' by the Georgian
artist Yakkushi, Hofmann and Schmutzhard teleport the sound atmosphere onto a live stage using the cello and physical modelling with Csound. The live processing of the Cello is based on effects of the COSMO library and runs on the embedded ultra low-latency platform Bela.
The Halfphysler is a hybrid acoustic-virtual single reed instrument that has been presented at NIME 2019 the first time. This novel instrument is comprised of a sensor equipped clarinet reed and a virtual tube, simulated in realtime using Csound and the Bela board.
Biography
Alex Hofmann (Halfphysler)
is a researcher, saxophonist and live electronics performer working with improvised and contemporary music. He develops new tools to enhance expressivity in music performance by advancing sensor technologies and writing customized software tools. He works as a researcher at the University of Music and Performing Arts Vienna, but before that he did research at the Austrian Research Institute for Artificial Intelligence (OFAI) and worked as a Sound Design Assistant at Native Instrments.
Sebastian Schmutzhard (Cello)
finished his diploma studies in technical mathematics at the University of Innsbruck in 2008, and his PhD studies in mathematics at the University of Vienna in 2012. He was a major contributor to the development of the Half-Physler Csound instrument and has himself been an active saxophone and cello performer for many years.
Shadi Kassaee (*)
Duo for Half-Physler and Alma (2019) - 3'59"
Live electronics [Stereo]
The piece is an improvisational duo between the Half-Physler model and Alma. The Half-Physler is a prototype of a hybrid singe-reed instrument. The excitation mechanism of the instrument is based on actual instrument parts (mouth-piece, saxophone reed, ligature), but the tube is simulated on the Bela board. A bending sensor is directly attached to the reed which allows a large variety of possibilities for stimulating the reed, for example rubbing the reed against different materials and surfaces like foam, rubber, wood, metal, which produce a rich pallet of different and complex timbres, while the simulated tube is controlled by sliders. Alma is an instrument for improvising and composing. It receives the audio input from the Half-Physler, which is analyzed for sounding units of four different sizes, that are played back in different ways by a player using a MIDI keyboard.
Biography
Shadi Kassaee
Shadi Kassaee (Born in Hamburg in 1999) She's been a student of composition at the HMTM-Hanover since October 2017. Her passion for composing began at the age of four, when she took her first keyboard lessons. She’s received several prizes and scholarships in the field of composition, among them in 2011, 2014 and 2015 from the federal competition in composition. Workshops with renowned musicians, grants from the academy of music Hamburg and other sponsors followed in the years to come. Here she was able to gather many impressions and found her way to New Music.
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