relácia / programme: ARTradio
názov témy / title: Concorso Int. L. Russolo 1995
vysielané / broadcast: radioART - internet
author / redaktor: Juraj Duris
language: english
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[audio1]: Jozef Hyde SONGLINES (14:05)
[audio2] : Francesco Giomi FLAMENCO (12:43)
[audio3] : Manolo Remidi UNA GIORNATA DI AGOSTO (8:10)
[audio4] : Jon Christopher THEY WASH THEIR AMBASSADORS IN CITRUS AND FENNEL (12:39)
[audio5] : Randall Smith CONTINENTAL RIFT (14:59)
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[foto1] : CD booklet
[foto1] : Jury, Varese 1979 from the left: P. Grossi, F. Bayle, C. Picardi, G.M. Koenig, C. Ferrario, P. Schaeffer, G. F. Maffina
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XVII° Concorso Internazionale „Luigi Russolo“ per giovani compositori di musica elettroacustica analogica digitale
Varese 29 - 23 settembre 1995

Category A (Electroacoustic music)
1° Jozef Hyde SONGLINES 14:05
2° Francesco Giomi FLAMENCO 12:43
3° Manolo Remidi UNA GIORNATA DI AGOSTO 8:10

Mentions:
Rodrigo Cichelli Velloso ESPACO DE OUTONA
Darren Copeland REACHING FOR TOMORROW
Eduardo R. Miranda GOMA ARABICA

Category B (Electroacoustic music with instrument or voice)
1° Jon Christopher THEY WASH THEIR AMBASSADORS IN CITRUS AND FENNEL 12:39
2° Randall Smith CONTINENTAL RIFT 14:59

Mentions:
Rodrigo Cichelli Veloso MULTIPLE REEDS
Pierre Jodlowski VOLA

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Mourning in the world of music PIERRE SCHAEFFER IS DEAD FATHER of „MUSIQUE CONCRÉTE“

The world of experimental music has lost one of its spiritual fathers, the master of passage and the recent generations of composers who followed him - the passionate researcher of the 20th century music who had among his famous ancestors Luigi Russolo and Edgar Varese.
When we think about death in general we never include here our dearest ones and the people we consider masters of the civilization and the culture and so we remain horrified and astounded of their death. Only now attacs us the most precious memories, nostalgic and sorrowful ones because of what haven’t been done because of the negligence, because of the laziness, or because of living very fast in our time. That’s why we remember our first meeting a long time ago in 1979, when accepted my invitation to take part in Jury in our 1st international competition „Luigi Russolo“ for the young composers of electroacoustic music. Next to him were sitting other famous personalities like Franćois Bayle - director of GRM/INA form Paris, Pietro Grossi - precursor in Italy of computer music an director of CNUCE from Pisa, Gottfried Michael Koenig from the University of Utrecht and musicologists Carlo Ferrario and Carlo Piccarai.
We meet together again in 1982 in the Great hall of the Centre 6 Pompidou in Paris as the guests in honour with Pierre Boulez, Karl Heinz Stockhausen and other musicians to assist in performance, the first European one invited by IRCAM in our „Petit Café Concert“ - a little anthology of the musical production of Italian Futurism with famous „intonarumori“ of Luigi Russolo which is subsequently being introduced in the most important European theaters and festivals. The following day were invited for the lunch in his beautiful apartment in the centre of Paris with the view on the gardens of Tuilleries.
Some time after our return to Varese we received his letter in which he explains his flattering, gratifying evaluation of our show.
In the courser of the years our relations followed with exchange of the letters and publications where in CD is included the complete work of his musical production edited by GRM/INA in occasion of his 80th birthday.
His death is a great lost for us also because of the fact that he was a long time the President in Honour of Jury of our Competition „Luigi Russolo“ and by now this great star will not be more among us.
The presence of memoirs, the rigours of his teaching will remain of this great protagonist of our musical century.

The „global village“ of those communication means which remind us of Orwell novels, has been enhanced by a new musical component.
Other young composers, using the latest devices of acoustic technology, sent their brand new compositions in order to remove the barrier between emotional sensibility and technical rigour.
In fact in the recent past, the critics accused electroacoustic music of an excessive use of technical devices to the detriment of the single composer’s sensitivity, but nowadays a certain „symbiosis“ between traditional instruments and modern technology, between synthetical and natural sounds, is taking shape, to confirm that machines cannot take the place of the composer’s humanity, but they can make the artist’s work easier enriching the sound field and helping to find the solutions to some technical problems that could come into the composer’s mind.
Machine does not mean „automatism“ but it just shows a way to reach that completeness of sound which all the musicians have always desired.
The futurist musician Luigi Russolo, one of the ancestors of electroacoustic music, assented, in 1916, with unquestionable foresight: „...first make the senses vibrate then your mind will resound too. Make your senses quiver with the unexpected, the mysterious, the unknown, and you’ll reach the real, intense, deep emotion of the soul!“.

G.Franco Maffina
President of Russolo-Pratella Foundation

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1° Prize - Category A (Electroacoustic music)

Joseph Hyde (born in l969) is a composer based in Birmingham, England. He is a member of BEAST, a group of composers who maintain a sound-diffusion system dedicated to the performance of electroacoustic music, and is currently teaching electroacoustic composition and performance technology at the Darington College of Performing Arts (Devon).
His music combines electroacoustic resources with instruments and voices, and is often itself combined with dance, text or visual performance. He has won a number of prizes, and is widely performed and broadcasted, in Europe and beyond. Several pieces are available on CD.

SONGLINES for tape, 1994
1st movement: lost for words
2nd movement: found objects
3rd movement: seachange
Songlines are ancient paths through the Australian landscape. The paths are not marked, navigation is achieved through knowledge of aboriginal songs that describe the landscape through which the paths travel.
Songlines has nothing to do with Australian culture and landscape; rather it is an abstract construction that mirrors the phenomenon described above. The „landscape“ in this case is a large gathering of texts, ranging from Inuit myths to Edgar Allan Poe. Texts were deliberately chosen that had points in common, allowing a „path“ to be laid through them, not just linearly, traveling along a particular text, but also laterally, traveling between texts by way of these common points.
Songlines is not the landscape or the path, but rather a „song“ describing them. Only the faintest traces of the texts themselves can be perceived, but they are present throughout as the inspiration behind the music. The aim was to create a piece which is abstract, in which purely musical concerns are of paramount importance, but which has the lyrical flow of a narrative.
One of the main reasons for choosing such a method of construction was that, once path and landscape were constructed, they could be described not only with music, but with any other artistic medium. Songlines also exists in several collaborative forms, with dance, video and computer animation. This working method allowed collaborators complete artistic freedom, whilst ensuring that the resultant material would be closely related.

2° Prize - Category A (Electroacoustic music)

Francesco Giomi was born in Florence in l963. He studied Electronic Music and Musical Informatics at the State Conservatory of Music in Florence and Sciences of Information at the University of Pisa. Nowadays he teaches Musical Informatics at the Conservatory of Music in Florence and he is a member of Musicological Division of CNUCE.
About composition, he devotes himself to electroacoustic music. His musical works have been performed in Italy and abroad.

FLAMENCO. Flamenco music always evoked a strong emotional suggestion. This composition wants both to be a homage to the guitar virtuosity and to try to give, in an electroacoustic way, sensations of strength and energy that can be compared to those caused by this kind of music. The electroacoustic piece is in a new way of composition that uses materials with formerly different musical functions but that is characterized by the intrinsic sound qualities. All the sound material of the piece have been sampled by commercial recordings of the great virtuosos of guitar and has been edited and digitally elaborated through Sound Designer II and GRM Tools for Macintosh.
Flamenco has been carried out in Centro Tempo Reale of Florence.

3° Prize - Category A (Electroacoustic music)

Manolo Remiddi plays the guitar and studies modern music. He performed his pieces in several towns in Italy and an the International Spring Festival in Northern Corea. He started casually to compose with the NOISE.
Looking through the window of his room, he listened for the first time, with a different ear, the train passing, he’s been touched by that cyclicity and that harmonious movement of noises combined together. The town, that is an „endless mine of noises“, drove him till now.
„My studies: I play guitar for about eight years and I’m still interested in different musical genres, however I studied in a profound way modern music like (Jazz, Funk, Rock).
Where I played: I played in the most important clubs in Rome with different formations.(...) ...in the North Corea, where together with other musicians we made various improvisations and >visited again< new pieces of corean folklore.
With noises: I wrote a piece for performance of a contemporary dance entitled „The Square of...“


AN AUGUST DAY. I advise for the best listening to keep volume of the music high (loud) and to make lower (decrease) the one of the light. The best would be to have, to use an intermittent light of the blue colour (the type of siren of the police). All the music played by me is recorded with direct drive without any overrecording. This music is not very suitable for recording ‘cause the dynamics are strong, but for live performance. The piece is based on guitar sounds.“ (Manolo Remiddi)

1° Prize - Category B (Electroacoustic music with instrument or voice)

Jon Christopher Nelson (born l960) received his B. A. at Bethel College and his Ph.D. in Composition and Theory at Brandeis University. His compositional studies include work with Arthur Berger, Martin Boykan, Charles Dodge, Barry Vercoe, and Allen Anderson. In addition to his academic studies, Nelson is a board member of the South Florida Composers Alliance, the Boston chapter of the League of Composers - ISCM, and is a founding member of the LUMEN Contemporary Music Ensemble. He is currently an assistant professor of music theory and composition at Florida International University in Miami where he directs the FIU Electronic Music Studio. He has also been a faculty member at the Berklee College of Music, Brandeis University, an Clark University.
His compositions have received numerous performances and awards from the following organizations: Memphis Symphony Orchestra, New World Symphony Orchestra, Guggenheim Foundation, National Endowment for the Arts, Fulbright Foundation, ASCAP, Atlantic Center for the Arts, Meet the Composer , Society of Composers Inc. International Computer Music Conference, Society for Electroacoustic Music in the U.S., International Society for Contemporary Music, Minnesota Composers Forum, Jerome Foundation, National Music Teacher’s Federation, Dorland Mountain Colony, and others.

THEY WASH THEIR AMBASSADORS IN CITRUS AND FENNEL (1994) is based on a poem by Robert Gregory and is dedicated to Joan La Barbara, who commissioned the work The composition’s incorporation of a variety of extended vocal techniques is inspired by La Barbara’s use of the voice, Its formal structure is greatly influenced by both the larger design and internal form of Gregory’s poem. This poem is of special interest to me because of its many internal cross-references. These recurring referential structures are similar to musical ideas that I have explored in recent works.
The computer-generated tape was created in Sweden’s national Electronic Music Studio (EMS) where I was in residence as a Guggenheim Fellow in the fall of 1994. Much of the material on the tape is derived from Joan La Barbara’s voice. I am indebted to her for providing me with rich source material. I thank Robert Gregory for allowing me to set his poem. I am also grateful to the Guggenheim Foundation and EMS for providing me with the necessary resources to realize this composition. (Jon Christopher Nelson).

2° Prize - Category B (Electroacoustic music with instrument or voice)

Randall Smith, born March 8th, 1960 in Windsor Ontario, Canada. He is a self taught composer and began his compositional career after discovering the music of the Groupe de Recherches Musicales. His interest in Acousmatic composition has led him on numerous occasions to collaborate with artists in other creative media such as experimental film and dance. Since 1983, interaction with both of these artistic media combined with his own musical experiments have permitted the development of compositional techniques that he uses to inject into purely musical works.
Randall Smith has had his works presented in Europe, Canada and the United States. He received 1st Prize at Luigi Russolo Competition 1993 and a mention at Bourges 1993, he has also received Canadian Council Grants and a commission from ACREQ and the Canadian Electronic Ensemble. Smith has had his music published on CD at the empreintes DIGITALes Label and the Luigi Russollo Competition release. He composes all his music at his own private studio in Toronto, Canada.
Main Works: Continental Rift l995, La VoliŹre 1994, The Black Museum 1993, Ruptures 1991, Counter Blast 1990, The Face of the Waters 1988.

CONTINENTAL RIFT contrasts a delirious present with its antecedents, the former represented by a hallucinatory concrete assault, the latter by a haunting virtuosic solo cello. The abrupt shifts which comprise the atomic moment are filled with a cacophonous ruin, its accelerated rates of change become its own mirror and necessity, all summoning a technological narcissism which insists that the present is of cello music, as Smith introduces signature moments from the past - from Bach, Beethoven and Kodaly, and refashions each in a serial temper which deconstructs the original, shattering its melodic counterpoint and stretching it over the canvas of the present, made to exist now as a fragmentary recall, an echo of loss attempting to coalesce, to regather its lost roots and conjure again the worlds before this one. These patterns are gathered in waves of sound, as the monumentum of returning builds new alliances between past and present. Continentasl Rift is about history’s attempt to inhabit the present, a remembrance and mourning for tradition and the individual talent. Continental Rift was commissioned by the Canadian Electronic Ensemble with the assistance of the Canadian Council.