|
|||||
|
This week my new project “Tales from the Silent Lands” will make its world premiere in Boston @ the Goethe Institute (April 14, 8pm)! Before the premiere, you can watch video-conversations with Ken Ueno and Lei Liang on their new piano pieces “Volcano” and “Piano, piano” which they composed specially me and for the “Tales from the Silent Lands”. Tales from the Silent Lands… is partly supported by the Moon and Stars Project New York. In this episode I would like to talk about understanding “noise” as a musical element and discuss briefly two milestone pieces that show different approaches to integrating noise into a composition: Poème électronique by Edgar Varèse and Guero by Helmut Lachenmann. Enjoy! Watch&Read Poème électronique by Edgar Varèse (audio only) Poème électronique by Edgar Varèse (original video) Background on Poème électronique Guero by Helmut Lachenmann (video) Excerpts in the podcast come from:
Those of you who can make it to the concert on Friday will hear something very extraordinary. I will be improvising a contemporary cadenza to the first movement of Beethoven’s 5th concerto using a live-electronics framework by composer Edgar Barroso. In the concert on Friday I will insert an electro-acoustic improvisation into the middle of Beethoven’s notated cadenza demonstrating how different elements from within the concerto are perfectly suitable for such an experiment. I hope to see many of you at the concert on Friday, if you cannot make it to the concert you will be able to hear a recording on my website, www.sedaroeder.com. I am really excited about this unprecedented experiment, and am looking forward to your comments. Fri, April 15 Tickets can be purchased at the Harvard Box Office, or at the door. Presented by the Harvard-Radcliffe Chinese Students Association. Plum Blossom Country Journey to the West Allegro from Piano Concerto No.5, Op.73 “Emperor”
Music director Hanjay Wang ’11 By the end of the 19th century we already start seeing composers like Berlioz and Debussy experimenting more and more with the characteristic sounds and colors of different instruments. As a natural result of thinking more in color and effects the instruments had to be forced to their sonic extremes, to create a new sound world. The composers started to explore and expand the sonic possibilities of instruments and pushed these to previously uncharted territories. In this episode of Blackbox, I would like to give you a short introduction on the development of new playing techniques to create such new sounds. I will also show you a two examples for such interesting sounds from my own repertory: the “fishing line” section from “Lacrymae” by Murat Yakin and the “e-bow+mallet+plucking+whistling” section from “Drifting through the Echoes of Time” by Turgut Erçetin. Enjoy! Links for further exploration: In this episode I would like to continue where I finished last time (have a look at: Blackbox #008) and focus on another element which is quite different in contemporary music compared to other types of music: Rhythm. In this episode I am going to show you that dissonances are actually as such not the reason why some of us find contemporary music uncomfortable. You will see that when we are provided with a steady beat, and a clear rhythmic structure, we can take even the most unbearable dissonances. Enjoy! PS: next time when you listen to a popular song by Björk or Röyksopp try to imagine the music without the beat. Then you will also see how dissonant some of the most popular songs actually are. If you want to try this out just click on the links below: |
(Click image to listen)
$9.99 (CD) $6.99 (mp3 album) 
|
||||
|
Copyright © 2012 Seda Röder - All Rights Reserved |
|||||
Get updates and anouncements
Get Seda's Newsletter
Follow Seda on Twitter
Seda on Facebook
