| Dmitri Kourliandski: | Piano Space (2020-2024, 60’) Disklavier sound installation, installation version |
|---|---|
| John Zorn: | The Hermetic Organ (2024, 30’) new version for multichannel diffusion |
| Christina Kubisch: | Travelling Voices (2024, 30’) new version for multichannel diffusion, production La Biennale di Venezia - CIMM Centro di Informatica Musicale Multimediale |
| PatKop: | Flügelnwund (2023, 8’) for multichannel diffusion, production SWR Experimentalstudio Freiburg |
| Natasha Barrett: | Volvelle (2015, 21’) for multichannel diffusion |
| François J. Bonnet: | Meith (2020, 37’) multiphonic acousmatic piece, new version for multichannel diffusion |
| Iannis Xenakis: | Bohor (1962, 22’) for 8-channel tape |
| Bernard Parmegiani: | De natura sonorum (1975, 53’) for fixed media, production INA GRM Paris |
| Alvin Curran: | Footnotes 1.3 (2024, 20’) self-composing sound installation for solo Disklavier and multi-channel diffusion |
| Hanna Hartman: | Fracture (2016, 24’) electroacoustic piece with recordings of bassoon |
| Mattia Parisse: | Zeal (2024, 30’) for multichannel diffusion (Biennale College Musica - Composers) |
| Ali Nikrang: | Absolute Hallucination (2024, 30’) AI self-playing piano improvisation, production La Biennale di Venezia in collaboration with Ars Electronica Linz |
| Mixage and sound projection: | Thierry Coduys |
| Light design: | Theresa Baumgartner |
Music
Listening/Hearing
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details | |
| — | Sala d’Armi E | Details |
Description
LISTENING/HEARING is an installation space for individual listening that is available throughout the Festival in the Sale d'Armi E of the Arsenale, with sound projection curated by French composer and sound engineer Thierry Coduys. This sound-chamber presents works of digital and acousmatic electronic music, both composed in the studio and generated in concert with innovative technologies, to showcase current trends in electronics in the field of research into absolute music. The design for this listening space has been created by the German light designer Theresa Baumgartner.
The centre of the installation space features a Disklavier for the world premiere of the installation version of Piano Space (2021) by Russian composer Dmitri Kourliandski. This is followed by the world premiere of the multichannel spatialisation version of Travelling Voices (2024) by German electronic research pioneer Christina Kubisch, a work based on recordings made in St. Mark's Basilica of compositions from the Venetian School performed by the Cappella Marciana conducted by Marco Germani, by the Italian premiere of Flügelnwund (2023) by the acclaimed Moldavian composer and violinist PatKop, the French composer Bernard Parmegiani’s masterpiece De natura sonorum (1975), produced by Radio France's INA GRM, the Italian premiere of the electronic work Volvelle (2015) by the English composer Natasha Barrett, and the world premiere of Zeal, a work for multi-channel diffusion by the young Italian composer Mattia Parisse (1998), selected for the Biennale College Musica - Composers 2024. Another major INA GRM production receiving its Italian premiere is the acousmatic work Meith by French composer François J. Bonnet, which is flanked by one of Swedish composer Hanna Hartman’s famous electronic compositions Fracture (2016), produced by Deutschlandfunk Kultur. The programme also includes Iannis Xenakis’s electronic masterpiece Bohor (1962), a self-composing sound installation for solo Disklavier and multi-channel diffusion, Footnotes 1.3 (2024) by Alvin Curran, the world premiere of John Zorn’s version for multichannel diffusion of The Hermetic Organ, commissioned by the Biennale Musica, and the world premiere, commissioned by the Biennale Musica, of Absolute Hallucination (2024) for Disklavier generated by an Artificial Intelligence program and conceived by the Iranian composer and programmer Ali Nikrang, a co-production with the Linz Ars Electronica festival.