Eliane Radigue. Ockham's razor VANG VI. Music in the vanguard

Description

CentroCentro produces the sixth edition of VANG. Avant-garde music, this time curated by Sergio Luque and Victor Barceló. The first concert of the cycle is dedicated to the French composer, pioneer of sound experimentation, Éliane Radigue.

Éliane Radigue. Ockham's razor
Julia Eckhardt, viola
Yannick Guédon, vocals
Caroline Profanter, sound system

Program
Biogénésis (1973) [21:06 min]
Danse des Dakinis (1998) [24:33 min]
Occam Ocean

Biogénésis (1973)
“To my daughter Anne Person, for the child she carries and will carry for a long time.” Eliane RadigueMusic for pre-recorded sounds (heartbeat and ARP 2500 synthesizer on magnetic tape) Produced in the author's studio in Paris. First audition at The Kitchen, New York (March 6, 1974)

Biogénesis is inspired by the arrival of Eliane's first grandson. Through a stethoscope, she recorded and used the sound of the heartbeat of the unborn child, the mother (her daughter) and her son. This "hymn to the perpetuation of life" was performed with a conventional microphone and stethoscope.

Dance of Dakinis (1998) "For Marion"

"This piece is different from Dance of the Dakinis, produced in 1982 as part of Adnos III. Although they share a similar rhythm, it includes as a special reference to the place of creation the sound of a stream existing on the Mills College campus" (Eliane Radigue ). Danse des Dakinis was composed to be at the center of another of Radigue's pieces, Labyrinthe Sonore, performed in 1998. Dakinis are wise women, female spirits, or goddesses (in Tibetan Buddhism, Dakini can refer to female incarnations of enlightened energy). fierce-looking and human women with a certain degree of spiritual development, which can help tantric initiates achieve enlightenment [Wikipedia]).

Occam ocean

"The idea for this piece was initially inspired by a large mural I happened to see in 1973 at the Natural History Museum in Los Angeles. It showed the 'spectrum of electromagnetic waves' moving from the largest to the smallest of wavelengths. known measurable waves. Outside this broad spectrum there is a tiny zone from just under 100 Hz to just over 10 KHz that the ears of certain species that populate the planet earth have transformed into 'sounds.' Later I discovered interesting parallels with various from my reflections on William of Ockham and his famous treatise Ockham's Razor. Put most succinctly in his own words, 'The Simplest The Best', it has been adapted and used by numerous artists/creators. Finally, came the distant memory of a science fiction story I had read about the existence of a mythical ocean.In fact, it seems that the Ocean with its many waves allows us to be symbolically in touch with each other. Contact with quite a large spectrum of vibrant ripples, ranging from large deep-water swells to small swells that sparkle on a beautiful summer day. This explains the overall 'structure' of the project. The way of working is based on an individual 'image' -associated with water- evoked within each solo. Each musician is guided by his personal 'image'. This brings the essentials, letting the descriptive words and the evocations establish a communication system as the piece is elaborated and, through this intuitive-instinctive process, guides us to the very essence of the music. There will be as many solos as volunteers willing to delve into this shared experience, becoming 'sources' in turn."

Éliane Radigue (born 1932) is a French composer of electronic music; she is considered one of the most innovative and influential contemporary composers. From her early feedback-generated electronic music in the 1950s, she moved on to work with the ARP 2500 modular synthesizer. For the past fifteen years she has focused on acoustic work, in which she collaborates directly with instrumentalists. Influenced by concrete music and after several regular stays in the United States, where she discovered analog synthesizers, her work displays an intensity that is both subtle and monumental. Through her deep reflections on sound and her listening not only to her music but also to her working methods have come to shape a set of new parameters for working with sound as musical material.

Julia Eckhardt is a musician and programmer in the field of sound arts. She is the founder and co-artistic director of the Q-O2 workspace in Brussels. As a performer of both composed and improvised music she has collaborated with numerous artists and extensively with Éliane Radigue. She has extensive international background as a performer and soloist, as well as numerous recordings. She has lectured on topics such as sound, gender and public space, and is (co-)author of The Second Sound, conversation on gender and music, Grounds for Possible Music, The Middle Matter – sound as interstice and Éliane Radigue – Intermediary Spaces/Espaces intermédiaires.

Yannick Guédon is a composer, singer and performer born in France. His work focuses on small timbre variations, as well as subjective notions of time and silence. He creates listening situations where the viewer is invited to appreciate the time and context in which the musical action takes place, revealing the sound, visual and lighting environment. The main tool in his projects is always sound, but he often stands out for issues related to the body and the presence of the performer in the context in which the performance takes place. He has recently collaborated with Ensemble Dedalus, Mattieu Delaunay, d'incise, Aernoudt Jacobs, Catherine Lamb, Laurent Pichaud, Éliane Radigue, Sébastien Roux and Marc Sabat, among others.

Caroline Profanter is a composer and performer in the field of electroacoustic music. She composes acoustic pieces for different speaker configurations; She works interchangeably in the fields of free live improvisation and structured music, as well as, in collaboration with other musicians, graphic notation between analog electronics, computer, voice and instrument. Her work focuses on the game of perception between organic and synthetic sound forms and the space that is generated between them. She frequently collaborates with artists from various disciplines, at the intersection of installation, film, and radio art. She specializes in the spatial interpretation of acousmatic and electroacoustic compositions over multichannel sound systems and speaker orchestras, and has spatialized works by various composers including Éliane Radigue, Daphne Oram, Octavian Nemescu, Beatriz Ferreyra, and Else Marie Pade. He has participated in festivals such as Espace du Son (BE), Wien Modern (AT), OUT.FEST (PT), Europalia Festival (BE), Transart Festival (I), Plage sonore (FR), Sound Spaces (SWE), among others. She is part of the artistic team at Q-O2, a workspace for experimental music and sound art.

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