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Aliona
Yurtsevich
between two waves of the
sea
VIAGGIO INTERIORE [Awakening of Alice]
(2009) for soprano, percussion, harp, 2 recorders and
electronic tape; Equanimity
of Old (2008) for mechanical organ and two players;
Different Equations of
Hesitation (2008) for prepared piano, harpsichord,
percussion, 2 harps, trumpet, oboe, 2 recorders and
8-channel electronic tape; The
Garden of Earthly Delights (2011) for solo
accordion; ...in the
stillness between two waves of the sea... (2010)
electronic tape composition
Composer Aliona Yurtsevich has firmly situated herself
within the “interdisciplinary” field of music composition,
in which music is an alchemical substance that perfectly
melts and unifies all other art forms – of word, gesture,
image, idea, technology – into a transcendent and satisfying
whole, with music itself as a co-dependent member of a
broader alliance. Hers is a world in which music continually
engages other sense modalities, reaches beyond the purely
aural domain and seduces us into multiple responses in body,
mind and heart. Each new piece involves a rethinking of
form, medium and material, the nature of the performing
space, the status of the performer’s body and instrument,
the extent of the bleed-through from music into visual or
kinetic domains. As a composer Aliona Yurtsevich is
developing her own unique style, exploring the traditional
abilities of acoustic instruments with the emphasis on
theatrical aspect of performance on stage, live electronics,
sound spatialization and sound itself. Her work leans
towards the experimental multidisciplinary sound-theater
exploring musicality of the visual and the visuality of the
musical performance. In her work she puts strong emphasis on
researching the interrelation between different creative
forms and languages in the musical context, where any
additional media used are genetically embedded in the score
from the start of the creation of the new work.
www.alionayurtsevich.com
Different Equations Of
Hesitation: This piece is dealing closely and
intimately with the perception of space in musical context,
which was the main inspiration for the concept and musical
material of the piece. Space, generally, is referred as
physical and musical element - not only by placing musicians
at opposite physical locations in the performance space, but
also by arranging musical material using contrast musical
textures and instrumental timbres to create an illusion of
physical space within musical medium. The acoustics of the
space play the role of a living, self-balancing surface -
that is constantly being penetrated by suddenly appearing
musical motives and textures – which “observes and
defines” their relationships and provides the ground for
these musical elements to resolve their “differences” and to
blend within the musical context of the piece. Equanimity
Of Old: The inspiration for the piece was the
instrument itself - Bätz's mechanical organ and its unique
sonority. By manually controlling air in the pipes it
reveals its beautiful, rich in overtones and fragile
micro-tonal language, which goes beyond classical organ
music tradition, exposing 'hidden' overtones and harmonies
that are not possible to notate by classical notation
precisely. A special notation was specifically created to
depict the slightest movements of the stops. Due to its
fragile microtonal world this piece is not meant nor
expected to sound the same every time it is being performed.
It is an intimate dialog between the player and the
instrument, where time as a fixed notion does not apply. VIAGGIO INTERIORE [Awakening Of Alice]:
This work represents the invisible theater of a daring and
puzzling journey into oneself, filled with a whimsical
curiosity and abundant absurdity that one may go through in
one's head. Juxtaposing harmony and chaos, order and
disorder, it deals with an old philosophical question of
what is dream and what is reality? Viaggio
Interiore is a “silent drama”, a drama without “a
drama”. It presents itself as the question and the answer at
the same time: a question that one cannot ask, and an answer
that one cannot have. The sonic tapestry of its virtual
musical reality invites an audience “to experience” the
struggle between word and meaning, visible and invisible,
seen and unseen. The “experience” in itself, in the way,
might be an answer and is very personal to each individual
listener. The Garden of
Earthly Delights is based on the masterpiece by
Bosch “The Garden of Earthly Delights”, with the aim to
reenact and to transcribe visual imagery, human scenarios
and emotions depicted in the painting into musical material,
based on which this piece for constructed. ...In
the stillness between two waves of the sea...: The
presence of nothing and everything at the same time. 'One'
affects 'another' - oscillating, vibrating between clarity
and vagueness, transparency and opaqueness, between
tranquility and restlessness, between wholeness and falling
to pieces. Sparse, calm, almost still, almost silent, gently
elevating and grounding again, penetrating air, passing
through and passing by – the sounds and physical movements
as one entity are striving together for a balance, sharing
one space. Music becomes a 'physical' entity present in
space, creating space within the space seamlessly blending
different modalities of our perception into one unifying
form.
Reviews |
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Composer(s) |
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21090
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Enzo Minarelli |
21089
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Aliona Yurtsevich |
21088
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Yiorgis Sakellariou |
21087
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id m theft able |
21086
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Kasper T. Toeplitz |
21085
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Tom Hamilton |
21084
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David First |
21083
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Tomomi Adachi / Jaap Blonk / Owen F. Smith / Duane
Ingalls |
21082
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Marta Sainz &
If, Bwana |
| 21081 |
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Aliona Yurtsevich |
21080
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If, Bwana |
21079
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Ulrich Krieger |
21078
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Triple Point |
21077
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Robin Hayward |
21076
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Ron Nagorcka |
21075
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Secluded Bronte |
21074
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David Rosenboom |
21073
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Peter Batchelor |
| 21072 |
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Alvin Lucier |
| 21071 |
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Lou Cohen |
| 21070 |
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Brian Chase |
| 21069 |
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Jerry Hunt |
| 21068 |
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If, Bwana |
| 21067 |
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Jorge Antunes |
| 21066 |
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Enzo Minarelli |
| 21065 |
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Tensions At The Vanguard |
| 21064 |
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Frances White |
| 21063 |
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Noah Creshevsky |
| 21062 |
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If,Bwana/Trio Scordatura |
| 21061 |
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Nate Wooley |
| 21060 |
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Leo Kupper |
| 21059 |
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Pauline Oliveros/ Francisco López/Doug Van Nort/Jonas
Braasch |
| 21058 |
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Philip Corner |
| 21057 |
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Alvin Lucier |
| 21056 |
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Dimitri Voudouris |
| 21055 |
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Birds + Machines |
| 21054 |
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Kiva |
| 21053 |
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César Bolaños |
| 21052 |
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Lionel Marchetti & Olivier Capparos |
| 21051 |
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Tom Hamilton/
Bruce Eisenbeil |
| 21050 |
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Source Records 1-6 |
| 21049 |
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Noah Creshevsky/ If,Bwana |
| 21048 |
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Simon Wickham-Smith |
| 21047 |
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Kenneth Gaburo |
| 21046 |
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If, Bwana (Al Margolis) |
| 21045 |
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Annea Lockwood |
| 21044 |
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Felix Werder |
| 21043 |
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Dimitri Voudouris |
| 21042 |
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Nick Didkovsky |
| 21041 |
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Montreal Sound Matter |
| 21040 |
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Anla Courtis |
| 21039 |
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Crawling with Tarts |
| 21038 |
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If, Bwana (Al Margolis) |
| 21037 |
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Hans Otte |
| 21036 |
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DIY Canons |
| 21035 |
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Band/Myers |
| 21034 |
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Chris Brown |
| 21033 |
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Tom Johnson |
| 21032 |
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Roger Reynolds |
| 21031 |
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Trios - Collaboration |
| 21030 |
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Beth Anderson |
| 21029 |
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Hamilton, Silverton, Margolis |
| 21028 |
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Warren Burt |
| 21027 |
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Jorge Antunes |
| 21026 |
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David Dunn |
| 21025 |
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Roger Reynolds |
| 21024 |
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If, Bwana (Al Margolis) |
| 21023 |
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Pauline Oliveros |
| 21022 |
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David Rosenboom |
| 21021 |
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Ross Bolleter |
| 21020 |
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Kenneth Gaburo |
| 21019 |
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If, Bwana (Al Margolis) |
| 21018 |
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Leo Kupper |
| 21017 |
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Robert Rutman |
| 21016 |
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Matthew Ostrowski |
| 21015 |
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various |
| 21014 |
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Rune Linblad |
| 21013 |
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If, Bwana (Al Margolis) |
| 21012 |
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Pauline Oliveros |
| 21011 |
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Rune Linblad |
| 21010 |
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If, Bwana (Al Margolis) |
| 21009 |
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Leo Kupper |
| 21008 |
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various |
| 21007 |
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If, Bwana (Al Margolis) |
| 21006 |
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Trigger |
| 21005 |
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Big City Orchestra |
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| IB |
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If,Bwana |
| FPM |
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Frog Peak Music |
| CUE |
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C.U.E. Records |
| SOP |
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Sound of Pig Cassettes |
| ANTS |
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Ants (Italian Label) |
| ANIMUL |
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Ned Rothenberg |
| HOMLER |
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Anna Homler |
| OAKSMUS |
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oaksmus (German Label) |
| GD STEREO |
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Geoff Dugan |
| ANOMALOUS |
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Anomalous Records |
| NONSEQUITUR |
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Nonsequitur |
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