English
Daniel KIENTZY, saxophone(s)
Cornelia PETROIU, viola
Reina PORTUONDO, electronics
concert in Ennéaphony
ECHO MEMO
L'Ombre double, “Cinquième voyage d’hiver” Costin MIEREANU
sopranino and soprano saxophones, viola & electronics
Fragile Adrian BORZA
soprano saxophone, viola & electronics
Pénitence et anthropologie Adina DUMITRESCU
sopranino and alto saxophones, viola & electronics
Obsessivo Doina ROTARU
soprano and tenor saxophones, viola & electronics
P A U S E
Nr. 273,16 - Intersections Maia CIOBANU
alto saxophone, viola & electronics
Choix Irinel ANGHEL
soprano saxophone, viola & electronics
A T In memoriam my son Cristian Octavian NEMESCU
tenor, alto, sopranino and baritone saxophones, viola, percussions & electronics
Stage manager : Julien Rouvière
Cultural project financed by the Ministry of Culture and Religious Affairs of Romania
with the support of Nova Musica (Paris) and the Kientzy Foundation (Bucharest)
PROmoZICA is a unique trio that brings together a sonist Reina Portuondo, a viola player Cornelia Petroiu and a saxophonist Daniel Kientzy (www.kientzy.org). . They have dedicated themselves to the interpretation of mixed music (natural instruments and electronics). All three artists play this new musical formula of chamber music in a completely singular style. The repertoire is composed of works written specialy for the trio that in concert interprets them in Enneaphony: is a multi voice (1+ 8) mode and system for the interpretation of the music combining live instrument(s), electronics and tape, conceived by Daniel Kientzy with Reina Portuondo. Geared to one soloist, co performed by a second musician at the center the rig it allies the vast potential acousmatics with instrumental sound enhanced timbrally or by electronic transformations in real time. An 8 directional differentiated spatialization (in pairs, far ahead, just ahead, to the side, behind) transcends the whole by a multidimensionality further enhanced by various digital delay treatments and by spatial synthesis. Operating to the highest standards but supremely practical it consists in less than 50 kilos of portable equipment requiring only 8 loudspeakers and their respective amplifiers (available any where on the planet) for installation.
L'Ombre double, Fifth Voyage of Winter (2007). Dedicated to the Trio.
Since
the cavern of Plato and the ambiguous reality of the Christ to the
comic strip “The Adventures of Philemon” by Fred, going through the
“Tales of Hoffmann”, “The House of the Mirror” by Alice, the cinema of
fantasy, surreal paintings and many other “double figures”; the world
is crossed without truce by fugitive paradoxical visions like the
shadows (reflection and echo) which are “obligatory attributes of
everything real” according to the philosopher Clèment Rosset. An old
joke of Central Europe said: “The four Evangelists were three, Luke and
Matthew”. Today, the four elements (the trio + the recorded sounds)
fusion paradoxically in the three types of fugitive impressions (music
of the shadows, reflection and echo) of the double shadow of this
“Fifth Voyage of Winter”. In itself, this trio is also a double
shadow because the Voyager (the saxophonist) gets lost in his
reflection (the viola –Narciso) with the wardrobe of the nymph Eco
(electro-acoustic music in direct). To produce these double figures,
the explorer (read composer) creates a “theatre of shadows” made of non
parallel sound lights: in between of the two arid suns of the
dessert and the longest shadow of the twilight of winter, the maker of
shadows chooses as its guide in this voyage of utopia, the torch in the
moonlight…
Costin MIEREANU
(Bucharest –1943). Studied in the Music Academy of Bucharest, the
School of Higher Studies of Social Sciences, the Schola Cantorum and in
the University of Paris VIII. In those institutions, he obtained his
first prizes of writing, analysis, music history, aesthetic,
orchestration and composition. He also has a Ph.D. in Art and Musical
Semiotic. In addition, he is a chair of the philosophy, aesthetics and
art sciences departments in the University of Paris I. Furthermore, he
directs the laboratory of “Aesthetic and Art Sciences” of the
University of Paris I, La Sorbonne since 1991. Since October 2000, has
presided over the Aesthetic and Art Sciences Institute that he founded.
Among many prizes, he has received the Prize of the European Culture
Foundation, the Enescu Prize and the Educational Score Prize of the
SGAE (1992).
Fragile (2008). At
first look, it seems to be made from a vulnerable material and like its
title suggests, the nature of this work is full of delicate and vibrant
sounds. Atoms of sounds and lineal intervals fuse to create short
musical phrases, produced with computer software specifically designed
for this purpose: the IAC. However, looking at this work with closer
attention, I proved that this meticulous process of algorithm
composition had a unexpected force within it. Fragile transforms the
decomposition of a musical experience into understandable “words” that
could talk to us, based in what we carefully listened and learned in
the past. The processes of composition and decomposition are also
fragile but do not subtract from durability. Fragile is a work
dedicated to the exploration of the interaction potential between man
and machine. The piece was created using the computer software of the
composer. Named IAC–Interactive Algorithmic Composition software
was conceived with programming language Max/MSP. Fragile was composed
by request from Daniel Kientzy and his Foundation.
Adrian BORZA (Turda–1967).
Polyvalent musician, he is dedicated to the composition of instrumental
and electroacoustical music, the development of music software, the
audio post-production and music education. He carried out higher
studies of composition in the University of the Arts and the Bucharest
Academy of Music. He also has a Ph.D. in music. Founded and directed
courses in electroacoustical music in the Theorist Faculty and the
study of recording CMP. In Canada, where he resides today, he
implemented courses of programming and electroacoustical music in the
University of Montreal. He is a professor in the Academy of Music
Gheorghe Dime and the associated member of the ISCM, GEMA and the UCMR.
His music is interpreted internationally.
Pénitence et anthropologie (2007).
It offers the public a world of sounds which sources are very similar
melodic discourses but also pertain to very different traditions.
Such traditions are: the Christian religion or the popular cultures of
the Siberian Nganasane and the Selk’nam of Earth of Fire. They have the
same musical expression but with totally different meanings, said in
another way, musical homononymy. If we want to understand the living
models that produced these results, we need a cultural education for
each one of them. Just like in a paradox, we find the ambiguities
of art in its exact natural opposition, exploring the ways to express
themselves in the languages of the people.
Adina Dumitrescu
(Bucharest – 1964). With a Ph.D. from the Bucharest National
University of Music, she possesses a double training: musical
information technology and composition. Since 2003, she lives in
Finland (Tampere) where she works as a researcher in musical
anthropology and a music composer. Her preferences lean towards
chamber music, the literary aspects and instrumental theatre.
Obsessivo (2008) A
short and circular motif wanders during the extent of this work like an
obsession. Just like a dream, the obsession varies, turning onto other
emotional contexts. Like in a dream, one circular motif is repeated
obsessively. It agitates gradually, becomes threatening, ramifies and
generates other obsessions – variations of the first motif. It is a
repetitive musical discourse but with a slow evolution that turns to
different emotiona situations. This work was written for the Trio.
Doina ROTARU (Bucharest
–1951) studied in the Music University of Bucharest where today, she is
a composition teacher. She gives conferences and magisterial classes in
many countries. Her music is interpreted in concerts and festivals
worldwide. She has obtained many awards, among others, one from the
Romanian Academy, one from the Association of Composers of Romania and
the 1st Prize in the Gedok-Mannheim Competition.
Nr. 273,16 - Intersections (2007)
“…it seems like you decrease, increase, you go away, I come closer…” “I
search for the rules of a liberty without a trail. I have a need
for yesterday”.
At 273,16 degrees Kelvin, (0 Degrees Centigrade),
the states become fluid in a permanent reconfiguration from solid to
liquid and (possibly) the opposite. The path from precision to
imprecision, from imprecision to precision can be made with different
moods and tempos.The piece observes the intersections of many
trajectories: clear melodic lines, improvised structures, noises
absorbed by converging tones, noises that resounds in diatonic and
chromatic zones or micro-intervals, colors and effects, thoughts,
images and memories. All the disintegration and reintegration in the
same flow… infinitely the same and infinitely diverse.
Maia CIOBANU
(Bucharest –1952) studied piano and composition in the Music Academy of
Bucharest. After, she studied in Darmstadt. She receives numerous prizes and honorary mentions. Later, she practiced as a harmony professor,
published many essays and articles plus she imparts conferences. Her
musical production is vast; symphonic, vocal, chamber and choral music,
electroacoustic, didactic pieces and music for ballet. She is founder
and director of the group “Alternative”. Her works are centered around
the investigation of the production of sounds in search of an adequate
channel of expression.
Choix (2008) is an
experimentation about the idea to present 3 totally different
developments of a unique musical structure, the same that transforms
into another, yielding by consequence sounds that are valid possible
elections for the public.
Irinel ANGHEL (Bucharest–1969).
Composer of works for orchestra and chamber music interpreted around
the world. She studied analysis, composition, harmony musicology and
orchestration in the National Music University of Bucharest where she
also obtained a Master’s Degree as well as a Ph.D. in composition. Many
national and international prizes have been awarded to her. She also
founded the group ProContemporania (1990) of which she is the artistic
director. In addition, in 2003, she organized the International
Festival of New Music of Bucharest. In 2004, she founded and directed
the MultiSonicFest, an event that still takes place today.
A T (2008). In memoriam my son Cristian
It
is a gift to have the ability “to touch”, “to feel” the T i m e l e s s
n e s s as part of the experience of time. The three phonic
transmitters, the saxophone, the viola and the recording tape have its
own temporary destiny. This is how a case of MULTI-TEMPORALITY
(polyphony of times) becomes evident with common zones and
intersections. The trajectory of the saxophone develops in a lineal
time, irreversible. We can simultaneously determine the continuity as
well as the lack of continuity of the low register to the high
register, of the big intervals to the retention of the middle register
in the small intervals and later, in a miraculous intervention, again
to the big intervals. We are talking about a sixth ascendant (being
major or minor) in the high register and symbolizes rising to the
heavens. It is in this interval that the interruption of time occurs.
The viola follows a closed circular path with ascents and descents,
repeated expansions and contractions of the sound temporary nature (of
the intervals). The recording tape evolves in an open circular tempo
over “conch spiral”. She starts with a Trisson major (with Ut as the
fundamental low register, Sol as fifth in the register and Mi the third
major in high) which astral emanations move in a process that has as a
direction the resorption, the implosion and the “sinking” inside during
the note Sol. After, it continues a modulation over Mi flat in an
increased chord, then another over Fa and finally, a third over Re flat
in a double hypostasis increased-major (in the frame of a articulation
of cadencies) that implies the dilation and temperance of time. All
these modulations are extracted from its tonal and historical contexts
that acquire a metahistorical, metaphysical and archetypical meaning.
They favor “evasion” of time of the saxophone and of the alto.
Octavian NEMESCU
(Pascani–1940) studied composition in the University of Music of
Bucharest (1956-1963). Presently, he is a professor of composition in
the Academy of Music of the same city. With a Ph.D. in musicology, his
compositions are interpreted regularly in international venues. He has
also obtained several prizes among which are the following: Aaron
Copland (1970), Bourges electroacoustic music (1980,1982), CIMA
(International Confederation of Electroacoustic Music), and the Prize
of the Romanian Academy (1981). He is a composer of archetypal
orientation; author of chamber, electroacoustical and imaginary music.
translation : Armando Almeida