Fabio Fabor Aleatoric Piano Collages
Each of those collages eventually made their way onto the air. His Suite pour 14 instruments is an amalgam of orchestral sounds rendered far beyond their original context. The processes became increasingly laborious, and those who once flocked to Schaeffer's studio to work in this new medium became disillusioned by the demand and patience that the work required.
Schaeffer and Henry worked together for eight years amassing a daunting sound library, some of which never fully materializing. Included here is an Henry work fromcreated in homage to Schaeffer using fragments of their Orpheus 51 and Though Schaeffer retired from music inhe returned to sound studies in the late s, eventually revisiting some early works.
Those too are collected here, and the bridge in time is event as Schaeffer breathes new life into his early techniques while also incorporating a more defined sound. Anonymous May 1, at Fabio Fabor Aleatoric Piano Collages. Anonymous May 2, at AM.
Anonymous June 10, at PM. Anonymous May 7, at PM. Anonymous August 13, at PM. Anonymous June 28, at AM. The first is a collage featuring piles of found sounds, mostly industrial actions, strung along a three piano wire tapestry. Fox has this knack for conjuring from long strings sounds that typically belong in the electronic realm, typically by giving a hard wap to slack strings, but on this he also opts for the taut and sonorous as well.
Their soundmass here could Michel Legrand Tendre Voyou be mistaken for the biggest air organ known to man. When Yokohama-based Toshiya Tsunoda documents sound, he does so on a microscopic level. Recognizing that at the center of any sound is vibration, he The Cardigans Long Gone Before Daylight those vibrations which don't readily or easily emit sounds.
Often imploring contact microphones, his recordings often explore the Helmholtz resonances, those vibrations created as air moves into a cavity, to some extent the effect of pressure changes as air exits and returns. Where architectural acoustics might use Helmholtz resonance to minimize standing waves, Tsunoda instead exploits them and amplifies them.
His recordings are presented relatively unaltered, sequenced with sudden cuts between sonic events. O Fabio Fabor Aleatoric Piano Collages Da Paisagem divides its material between the use of contact mics and small omni-directional microphones.
The sounds originate on a boundary, often between indoors and outdoors as in "Cicada and Window", documenting a dialogue between continuous cicada drone and a steady creak of window. Although the recordings present little input from Tsunoda, they are testament to his uncanny sense for setting and its sonic potential.
O Respirar Da Paisagem. I approached Laporte's explanation of this massively buzzing mass of sound with trepidation, but having listened nearly as many passes as he took to make the recording, I no longer question his veracity.
Mantra 's evolving, monolithic mass is culled from close recordings of a cooling condenser at a hockey rink. This is confirmed during the initial firing up of the compressor. As the piece progresses, Laporte travels around the compressor, documenting its components and its varied timbrel qualities.
He shapes the sound in a way one might in an electronic study, using PVC tubes to sculpt the high frequencies and metal covers to add resonance for volume boost. Laporte insisted that this be done in one take, as a single breath mantra of continuous but evolving nature, and without a doubt his meticulousness and patience comes through tenfold.
Mayazumi as well gives a fine showing with his cackle fest. Certainly, this is not to say the remaining pieces are clunkers. But if you're more inclined toward the high momentum wall bouncing sorts, the aforementioned four are a fine starting point. Save the other three for your cool down.
Fabio Fabor Aleatoric Piano Collages Never could track down the story as to why Lionel Marchetti felt compelled to release this under the name World Premiere Share The Night De La Krayssenet. Maybe he thought this musical essay in collage form was a drastic enough break from character that he could something of Fabio Fabor Aleatoric Piano Collages double duty, Tony Clifton-style stunt.
Something just doesn't fit. Why go through the trouble of citing your referencesonly to sign someone else's Various Project X Original Motion Picture Soundtrack and give them the grade?
Especially when you turn in the same essay ten years later with a new title. Perhaps Marchetti simply felt that he had already taken up his fair share of Metamkine real estate.
I'm not one to speculate. Kitnabudja Town. This one's a bizarre entry for Italian library producer Fabio Fabor. Every so often he just got the jones to get out there. Mind you, not Fabio Fabor Aleatoric Piano Collages out there. His Aleatoric Piano Collages is fairly evenly spread amongst somewhat lazily prepared piano, inner piano workouts, and electro-acoustic treatments.
His piano preparations mostly amount to a thin wire over a few notes, resulting in oddly engaging buzz. His typical electronic treatment is either a swamp of reverb or echo. The soundboard action is a bit more involved, incorporating hand dampening, rakings, and some downright cathartic haphazard banging around. There's just something fascinating to how half-hatched his ideas are, like he wants to try out these ideas he just heard about but doesn't want to damage the piano.
I keep listening expecting to hear a gasp and a shriek when he plucks a string too hard. Aleatoric Piano Collages. Spanning thirteen years of work, the trio of works function as an ode to his formative years and to the influences of Debussy, Bartok, and Schumann, respectively.
The pieces are built on easily flowing narratives and reflect Chion's prowess with short form works. Home Education. Long Eyvind Kang Jessika Kenney Reverse Tree Discontent.
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