Experiments are More Refreshing than New Socks

The first edition of ‘Experiments are More Refreshing than New Socks’ presents a promising line-up of researchers within the present-day performance scene. There is a strong emphasis on interactivity and collaboration.
Marco Fusi joins forces with the violin class of Guido De Neve; Winnie Huang invites all of you to participate in her embodied workshop The Beat and The Body; Liselotte Sels collaborates with students and Iranian composer Iradj Sahbai and Hans Roels and Umut Eldem present their research with their own partners in crime.
Vitja Pauwels, Hendrik Lasure and Casper Van De Velde will present their collaborative research and Daniela Fantechi teams up with the Austrian contemporary ensemble Schallfeld Ensemble.

As a closure of the festival, Ine Vanoeveren will present her first book ‘Tomorrows Music in Practice Today: a practical guide towards deciphering contemporary music’.

Full Program:

10u: welcome

10u10 u: Vitja Pauwels, Casper Van De Velde, Hendrik Lasure
Artificial Extensions of Acoustics in Music Practice

This research is done by an ensemble consisting of Vitja Pauwels, Hendrik Lasure and Casper Van De Velde. They explore the additions, consequences and impact that electronics generate for acoustic instruments, with as a starting point the idea that the studio situation shifts more and more towards the stage, the live situation. Their goal is to make musicians capable to have extended control over musical parameters like timbre, texture, dynamics, space, time and form – beyond the instruments themselves.
Being convinced that the end justifies the means, they make use of soft- and hardware equipment as well as preparations on their instruments.
For this festival each of the researchers will perform a short solo in which they explore the possibilities of their self-developed electronic extensions (respectively for guitar, piano and drums).

10.45u Winnie Huang
The Beat and The Body
Interactive workshop – open to the public

Our bodies are instruments that can mold and shape space and time. To express emotions and deliver intention within constructed and limited time. Moving without dancing, music without pitch. With a nod towards Laban Movement Analysis, Noh theatre, Mauricio Kagel, Gerhard Stäbler and musical-gestural works, this 1 hour experience will be a brainstorm, collaborative compositional workshop leading into a moving musical-gestural creation, developed and performed during CREATIE-festival.

12u: Liselotte Sels
EMRUZ | Iradj Sahbai
With Mar Sala Romagosa (flute), Pauline Lebbe (singer), Mikko Pablo (cello), Victor Lange (piano) and Liselotte Sels (harpsichord)

Iradj Sahbai (1945) is a French-Iranian composer and conductor who studied in Tehran, Strasburg and Paris (where he followed the teaching of Olivier Messiaen and won the composition prize). His oeuvre reveals a great attraction to and evocation of Iranian culture, and combines lively rhythms with vocal expressionism, in search of color. He finds inspiration in the modes of traditional Persian music and their microtonal inflections, as well as in the poetry of modern and classical Persian writers such as Nimâ Yooshij, Omar Khayyâm, Hâfez, and Rumi. Sahbai founded and conducted the Schiltigheim Chamber Orchestra, and has been involved in the creation and performance of numerous contemporary music works.
In this session, students and researchers of the Royal Conservatoire Antwerp present recent solo and chamber works of his, paired with an earlier composition (Belgian premieres) and new harpsichord music by Iranian composers. It is the concluding event of Liselotte Sels’s two-year research project “EMRUZ | TODAY: New music from Iran and the Iranian diaspora”.

12.30u pause (sandwiches in Witte Foyer)

14u Umut Eldem
Synaesthesia and Sound-colour Associations as An Interdisciplinary Metaphor
With Atilla Filiz

The idea of colour-music has existed throughout art history. In the last century, it has been discovered that some people can in fact see colours and visuals when they hear music, through the neurological condition of synaesthesia. The idea that synaesthesia might have something in common with how we pair different senses together pushed me to experiment on how to apply it to the creative process. In this presentation we will be looking at several composers with synaesthesia, my experiments, and what the relationship between the senses, colours, and sound mean for our aesthetic perception of music. The presentation will be followed by a performance of my work “Prelude”, for Electronics, Narrator, and Light.

15u Marco Fusi
Animated notation and audio scores: exploring alternative communication systems and performance results.
Workshop with Irene Vilanova Domínguez, Farinha Sara Fernandes de Carvalho, Melanie Gruwez

Italian composer Giacinto Scelsi creative process was unconventional and radically new in its approach to music creation. He considered the completion of the written score as a secondary task, and he delegated this chore to his assistants. For this reason, the traditional trust in the notated music appears in his case not sufficient nor appropriate.
The workshop will present different possible depictions of Scelsian original recordings. The participants will be required to perform animated video scores, that feature unorthodox ways of representing sounds (such as shapes, lights, movements), and to consider audio material as a “score” to be reproduced.
Engaging with these unusual representations of sonic phenomena, the performers will be forced outside of their comfort-zone, and their artistic and creative input will have a major impact on the final sonic result.

16u Hans Roels (40’)
With Ruben Orio

‘Distributed instruments’ are part of an in-situ music practice in which music is performed outside the concert hall. They join sound-producing devices, the site and supporting technologies into one overarching instrument. In the hands of human performers this instrument makes a place sound and gives animals, natural forces or architecture a sounding voice.
Anemoi is a composition in which two performers use a large tube with microphones to catch the wind and local air currents on top of high buildings and other elevations. Ruben Orio and Hans Roels will demonstrate the instrument. Next, researcher Hans Roels will elaborate on the design and detail how it was attuned to the site and the musicians’ ensemble during a preparatory experimentation phase.

16.40u PAUSE

17u Daniela Fantechi
Sistema di prossimità
With Schallfeld Ensemble: Lorenzo Derinni (violin), Myriam García Fidalgo (cello), Margarethe Maierhofer-Lischka (double bass) and Davide Gagliardi (electronics)

Sistema di prossimità has been written within the project “Composing with piezo”. Piezoelectric microphones transduce sound energy directly transmitted by the vibrating surface of the instrument where they are placed, changing considerably its original sound quality. In Sistema di prossimità they are used not only to amplify the instruments, but also to play different idiomatic gestures — such as glissando, tapping, scraping — introducing a new palette of sounds. The instrumental sound matter becomes less predictable, bringing new questions within the compositional process.

Prossimo (for violin and electronics)
Prossimo II (for double bass and electronics)
Prossimo III (for cello and electronics)
Sistema di prossimità (for string trio and electronics)

18u Ine Vanoeveren
Tomorrow’s music in practice today: a practical guide towards deciphering contemporary music
Official book launch

This book is a handbook for students in order to give them independency and autonomy in deciphering and performing contemporary music. The complex and new way of notating music can be overwhelming at first, but with these tips and tricks, students will develop new skills quickly, and improve as an independent contemporary performer.
The many graphic examples by young, successful composers of today help illustrating the most challenging subjects and complex notation.
The book covers profound rhythmical challenges, the incorporation of a color code, a comprehensive explanation of extended techniques, a basic electronic survival guide, Contemporart Informed Performance Practice tricks and tips on how to practice new music.

18u30 reception (in Witte Foyer)