LIVE ELECTRONICS
Execution and interpretation of electronic music in concert

Age limit: 35 years

Lessons start: July 19 / 3:30 pm

In collaboration with SAMPL (Conservatorio C. Pollini, Padova) and with the Computational Sonology Center (CSC) at the University of Padova

The Seminar is open to composers, arrangers, performers, and interpreters of electronic music and to sound engineers who intend to deepen their understanding of the theoretical elements, techniques, and creative abilities related to the realisation of live electronic concerts.

a. Composition
For the admission exam candidates must present the parts of two recent compositions in electronic music.
The parts must arrive at the Secretary’s office along with the application form and the application-examination fee by May 31st.
The Accademia Chigiana will communicate to all candidates the result of the selection made by the examining commission.
It is possible to attend the course as an auditor.
The course will be held in a laboratory style with daily meetings.
Active students are required to create an original electronic work.

b. Execution
For the admission exam candidates must present the technical-executive project of one of the following three electronic musical works, realized in such a way that the candidate is the only performer of the electronic part:
Luciano Berio Other voice (1999) for alto flute, mezzosoprano and live electronics, score UE 35958;
Gerard Grisey Prologue (1976), version for viola and electronics, Edizioni Ricordi, 1992 R2248;
Luigi Nono Post-prae-ludium for Donau (1987) for tuba and live electronics, Edizioni Ricordi 134668.
Alternatively, it is possible to present a piece for solo instrument and live electronics of a well-known author chosen by the candidate himself.
The executive technical project must be finalized for execution in a hall of about 150 places and of indicative dimensions of m 50 x 10 x 4 (h).
Perform the project using what you need from the following audio system:
• 8 independent amplification channels with 8 full-range loudspeakers positioned on the boom at variable height and orientation
• 1 subwoofer speaker positioned on the ground with independent amplification channel
• wide variety of dynamic condenser, proximity, radio, microphones with rods and various supports
• 1 analog or digital mixer of your choice
• 1 reverb generator of your choice
• 1 personal computer with multichannel audio interface and MIDI controller of your choice, software chosen by the candidate (preferred: Max / MSP, PD, Supercollider, Csound, or Faust, also interconnected with each other)
• power supply, audio and power cables, technician for installation support.
The project must include:
• data sheet
• diagram of the connections between the various devices and their location in the Hall and / or in neighboring environments
• detailed configuration of the mixer (inputs / outputs, internal programming)
• executive environment created by the computer using the chosen software; description text of the actions that the performer must perform during the performance possibly accompanied by additional instructions inserted in the score.

The Seminar is organised with lessons on theory and practical laboratories, and includes the participation of active students in the electronic parts of the following concerts:

July 21st
Patrick Gallois, flute / Luigi Pecchia, piano / Chigiana Percussion Ensemble / Francesco Dillon, cello / Alvise Vidolin and Nicola Bernardini, live electronics / Tiina Osara, action painting
George Crumb Vox Balaenae (Voice of the Whale) for electric flute, electric cello and amplified piano (1971)
Karlheinz Stockhausen Kathinkas Gesang als Luzifers Requiem (second scene of Saturday from Light) for flute and six percussionists (1982-83)

July 25th
Aldo Orvieto, piano / Alvise Vidolin and Nicola Bernardini, live electronics
Co-produced with the Sound and Music Processing Lab – SaMPL Conservatory “C. Pollini” of Padova
Stefano Gervasoni D’altra voce – Homage to Robert Schumann (2015-17) for piano and transparent electronic device Karlheinz Stockhausen Klavierstück XIV
Fabio Nieder Zwei Spiegel (text by Paul Celan, Fabio Nieder) (2010/11) Version for piano and live electronics
Adriano Guarnieri Title to be defined, new work for piano and live electronics. First execution
Nicola Sani No landscape (2012) for piano and live electronics
Project realisation curated by SaMPL

July 26th
Yoshua Fortunato, bass clarinet / Christian Schmitt, oboe / Cesare Mancini, celesta / Luigi Pecchia, piano / Antonio Caggiano, percussion / Alvise Vidolin and Nicola Bernardini, live electronics / Tonino Battista, conductor
Karlheinz Stockhausen Kreuzspiel / Refrain / Vibra Elufa / Zyklus
Giorgio Battistelli Ostinato
Iannis Xenakis Okho

July 28th
Anton Gerzenberg, piano / Alvise Vidolin and Nicola Bernardini, live electronics
Robert Schumann Kinderszenen op. 15
Karlheinz Stockhausen Klavierstück n. 13 “Luzifers Traum”; Natürliche Dauern n. 15, 13 e 23
Robert Schumann Sonata n. 1 in F sharp minor op. 11

July 29th
Quartetto Arditti / Alvise Vidolin and Nicola Bernardini, live electronics
Alban Berg Lyrische Suite
Luigi Nono La lontananza nostalgica utopica futura for violin and 8 magnetic tapes (1987)

The theoretical lessons will deepen the following problems:
- the temporal eco-sustainability of musical works with electronic parts
- the choice of technological equipment suitable for sustainability
- the adaptation of works from the past made with technologies that are no longer available
- the many semiographic notations used in the reading, interpretation and reconstruction of the electronic parts
- the use of scripting and automation systems for the systematic realization of electronic scores of high complexity
These problems present open aspects of research that will be exposed, underlining the components of research and cognitive investigation necessary for deeper analyses of past and future works.

In the laboratories the problems of shooting, processing and spatialization of live sounds will be discussed, also as a function of the documentation work to be carried out in post production. Through the preparation, tests and performances of the pieces with electronics listed above, different execution techniques will be studied, using the electroacoustic system of SaMPL based on d & b audiotechnik amplification, a Yamaha DM1000 digital mixer and multi-channel spatialization in otofonia.