COMPOSITORA JUDITH SHATIN VISITA CHILE CON SUS ESTUDIANDES
Concierto 19 de Julio, a las 19:00hrs
Lugar: Sala Jorge Müller , Libertad 53 , Universidad Arcis
Entrada Liberada

BRIEF INFORMACION aqui


ALMA es un proyecto en curso que pretende sentar las bases de un > Laboratorio de Informática Musical y Sonido en la Universidad Diego Portales.

Programa del Concierto:
MUSIC BY JUDITH SHATIN

Hosech Al P'ney HaTehom (CD) (11:15)
Tree Music (DVD) (3:37)
Kairos (CD, Flute/live electronics) (15:56)
Grito del Corazaon (DVD) (5:08)
Civil War Memories: Inside Out (CD or DVD) (9:12)
Penelope's Song (DVD - Music by Judith Shatin, Video by Kathy Aoki and Marco Marquez) (9:28)

Total Duration: 54:36
Notas del Programa

Hosech Al P'ney HaTehom (CD) (11:15)

Hosech Al P'ney HaTehom (Darkness Upon the Face of the Deep) is about a world being born: out of the subterranean darkness, sonic lightning; out of chaos, life. It is also about a new world of sound being born; not the music of traditional instruments or representations of them, but a music constructed from fundamental building blocks of sound. Here, music becomes architecture. Music also becomes unfamiliar; timbres shiver and break apart, zoom, coalesce, become animate. Boundaries disappear, space seems elastic. This piece does not use any "real-world" sounds. Rather, it uses computer-generated sound to lure us into a new musical realm. There are three sections. In the first, the sounds of the void reach up to become pitch. In the second, sonic lightning sets off a wild storm, with volcanic action spawning the animate. In the third, the primordial quality of the first is recaptured, though there are remnants of the second. Hosech Al P'ney HaTehom was composed at Stanford University's CCRMA (Center for Research in Music and Acoustics) while the composer was in residence in 1990.

Tree Music (DVD) (3:37)

Excerpt from a filming of Tree Music, an interactive installation commissioned by the University of Virginia Art Museum to accompany an exhibit of the tree-trunk sculpture by noted sculptor Emilie Brzezinski. Tree Music involves four networked levels of interactivity, each suggesting a particular relationship between the composer and the spectator/perceiver. A wireless camera tracks changes in motion and occlusion; and, depending on the data, the program chooses one of the four levels, with multiple pathways through each. While people visiting the installation repeatedly may experience some sonic overlap, there is a vanishingly small probability that they will have identical musical experiences. The music was all created from recordings I made of the sculptor at work and processed using RTcmix.

Kairos (CD, Flute/live electronics) (15:56)

KAIROS is a Greek word signifying the most propitious moment for a new undertaking, as in Ulysses setting out on his journey.The utterances of the flute take place through the medium of effects processing, which variously amplifies, distorts, contradicts, blurs, enhances, or transparently transmits them. The path that the flute traverses was inspired by that of Ulysses, from the heraldic opening and calling forth to the journey, through passages of arduous difficulty, tenacious movement, clear sailing, magical dreaming. The choice to limit the sound resources to overt transformations of the flute's own sound can be understood both as an extension and transformation of the flute into a newly emergent instrument and as a comment on, and response to, its original voice. Kairos was originally composed in 1991, with program revisions in 1995, and was scored for amplified flute, voice processor, Quadraverb and a Mac computer running HMSL. It has since been ported to MAX-MSP, and I would like to thank Troy Rogers for his excellent work in making this port. The computer's "score" is organized into sections which are triggered by the performer via foot switch at specified points. The composition of Kairos was supported by an individual composer's award from the Virginia Commission on the Arts. It was composed for and is dedicated to Patricia Spencer, who recorded it on her CD Narcissus and Kairos on the Neuma label. It has been performed at the Beijing ICMC, on the League/ISCM concert series in New York, among others. I include it on this concert to give an idea of my work combining the timbres of live instrument and electronic processing.

Grito del Corazaon (DVD) (5:08)

Grito del Corazón was inspired by Goya's "Black Paintings. " When the Ensemble Barcelona Nuova Musica wanted to commission a piece for their Painting Music program, I immediately recalled my intense response to these paintings in the Prado, and suggested this theme. These paintings surrounded Goya in his home known as the "Deaf House," because a devastating illness had left him completely deaf. The contents of the paintings deal with terrifying subject matter, such as Saturn devouring his Son (Saturno Devorando a su Hijo). In all cases, the images invoke fear and trembling. I met videographer Katherine Aoki at the MacDowell Artist Colony, and it was there that we decided to collaborate on this project. She is based in the San Francisco Bay area and has created a number of multimedia works, as well as fine art prints and art books. Grito del Corazón was premiered at the VIII Festival de Cinema Independent de Alternative 2001 in Barcelona, and has been presented at the Stedeljk Museum in Amsterdam , the Knitting Factory in NY, at the Ai-Maako Festival in Santiago, the Sonoimagene Festival in Buenos Aires, and at numerous other venues. The digital music was created using RTcmix at the Virginia Center for Computer Music. The piece may be played as a DVD, and there are also other versions for a variety of solo and chamber players.

Civil War Memories: Inside Out (CD or DVD) (9:12)

Inside Out is one of the set pieces that comprise "Civil War Memories," commissioned by Jane Franklin Dance and premiered in 2005. Composed for electronic playback, it is a setting of a text by Frank Wilkeson, a private solider in the Army of the Potomac. The text is a powerful comment on the horror of war, and I based the music on a recording I made of noted Civil War historian and UVA colleague Ed Ayers. I processed the reading using RTCmix. The music was created by processing the reading with RTCmix, and was inspired by the dark character of Frank Wilkeson's words: "The dead men lay where they fell. Their haversacks and cartridges had been taken from their bodies. The battle-field houls had rifled their pockets. I saw no dad man that night whose pockets had not been turned inside out." The original performance took place in a site-specific location with remnants of Civil War fortifications.

Penelope's Song (DVD - Music by Judith Shatin, Video by Kathy Aoki and Marco Marquez) (9:28)

Music:
I am frequently inspired by stories and myths from a wide variety of sources. Often, though, ideas spring to mind that are not directly connected to current reading or experience. This was the case in the composition of Penelope's Song. When violist Rozanna Weinberg approached me to commission a piece for amplified viola and electronics, the idea of creating a piece about Penelope, Queen of Ithaca and wife of Ulysses, sprang to mind. One hears a good deal about Ulysses, much less of Penelope. Interestingly, Margaret Atwood's Penelopiade, a wonderful retelling of her story, was published in 2005. As I was thinking about Penelope, I recalled how she fended off suitors during Ulysses twenty-year absence, by setting impossble tasks for them. One was that she would not consider a suitor until she finshed her weaving. But since she unravelled by night what she wove by day, she never finished. This led me to record the sound of a woman weaving on wooden looms, and to use those sounds as the source material for all of the electronic music. Sometimes they are recognizable, though sonically reshaped, while at others they have been transformed beyond recognition.

Video:

This animation, inspired by the weaving sounds of Judith Shatin's Penelope's Song, is our first collaborative effort. The creative process began with interpretive analysis of the electronic music. The weaving notion and the loom recordings became very important for both the images and their rhythmic motion. We also discussed our understanding of Penelope's onus (weaving and unraveling her work as she fends off the suitors while waiting for Ulysses to return) in relation to Shatin's music. We used a combination of digital painting, 3-d modeling/animation, and digital video to achieve the final animation. Throughout the process, we consulted with Shatin about her visual expectations. We thought of the piece in three movements. The first is realized as a building up of the cloth/threads, with a feeling of weight and impending danger or pressure. The second was interpreted as a night scene, wherein Penelope ponders her position and surreptitiously unravels the weavings. The last movement is a visual refrain based on the first, with more dramatic and decisive motions.
-KA and MM

Notes by the Composer Except as Indicated
Download Notas aqui