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The Squid's Ear Magazine
275 albums from Clean Feed & Shhpuma on Sale at 50% Off!


Kyriakides, Yannis / VeenFabriek
The Thing Like Us

Kyriakides, Yannis / VeenFabriek: The Thing Like Us (Unsounds)

Electronic music theater orchestrated by Yannis Kyriakides in collaboration with the Dutch musical theater group, VeenFabriek, that's centralized around the concepts of Spinoza's texts.
 

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product information:

Personnel:



Yannis Kyriakides-electronics

Ayelet Harpaz-alto saxophone

Anne Faulborn-harpischord

Tatiana Koleva-percussion

Carola Arons-voice

Bert Luppes-voice


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UPC: 63447839627

Label: Unsounds
Catalog ID: 09u
Squidco Product Code: 12501

Format: CD
Condition: New
Released: 2004
Country: The Netherlands
Packaging: Digipack
Recorded by Yannis Kyriakides in Kneuterdijk 1 (Den Haag), Jottem Studios (Krommenie) and STEIM (Amsterdam) in 2003.

Descriptions, Reviews, &c.

"Yannis Kyriakides' most ambitious release since his ConSPIracy Cantata (using number stations recordings from the Conet Project collection), The Thing Like Us is an absorbing collaboration with the theatre group VeenFabriek. It calls for a very different instrumentation and yet seems to proceed from the same desire found in the ConSPIracy Cantata: to bring together classical (almost antiquated) elements and contemporary composition. This time around, the "time-piece" aspect of the work is found in the harpsichord of Anne Faulborn, the main instrument in this project, and Spinoza's texts, central to the concept of the piece.

The original theatre production was titled "SPINOZA: I am not where I think myself to be." It presented a rereading of Spinoza's Ethics in a post-modern setting. The CD presents two of the three parts of this production.

"AFFECTION: The 48 Emotions" (33 minutes) is scored for alto (Ayelet Harpaz), harpsichord (Faulborn) and live electronics (Kyriakides). The piece unfolds in a series of short scenes held together by delicate clicks-and-cuts-type electronics. The contrast between electronics and the avant-Baroque duets between voice and harpsichord goes almost unnoticed,which goes to show how Kyriakides' highly personal musical language is effective.

The second work, "EPISTOLA: Letter on Free Will" (41 minutes) adds a percussion part (Tatiana Koleva) and two voices giving a theatrical dimension to the text (Carola Arons and Bert Luppes). Here, we loose the impression of listening to an art song cycle out of time, as things get closer to the hörspiel: the characters sketch, if not a story, at least levels of drama and mood swings, while the alternating entries and exits of harpsichord, tympany and more vehement electronics create a harsher set of dynamics.

Kyriakides' approach brings to mind the ensemble Oscura Luminosa's arrangement of Monteverdi's "Il Combattimento..." (on In Full Armour), although his compositional style is his very own: classy, maybe a little bit too rigid, but certainly inspired."-Francois Couture, All Music


Artist Biographies

"Yannis Kyriakides was born in Limassol, Cyprus in 1969, emigrated to Britain in 1975 and has been living in the Netherlands since 1992. He studied musicology at York University, and later composition with Louis Andriessen and Dick Raaijmakers. He currently lives is Amsterdam with his wife and two sons.

As a composer and sound artist he looks for ways of creating new forms and hybrids of media that problematize the act of listening. The question as to what music is actually communicating is a recurring theme in his work and he is often drawn to the relation between perception, emotion and language and how that defines our experience of sound. In the last years his work has been exploring different relations between words and music, both in concert compositions and installations through the use of systems of encoding information into sound, synthesizing voices and projecting text to music. The latter work has led to about 20 music text films that play on the idea of imagined or inner voice.

Yannis has written over a hundred compositions, comprising mostly of music theatre, multimedia and electroacoustic works for chamber groups and large ensembles. His work has been performed worldwide at many of the prominent music festivals, and by many leading contemporary music ensembles. His opera an ocean of rain, opened the Aldeburgh Music Festival in 2008. He has been featured composer at both Huddersfield Contemporary Music Festival 2007 and November Music 2011 (NL). Recently his sound installation work has been receiving more exposure and he contributed two works for the the Dutch Pavilion at the Venice Biennale in 2011.

In 2000 he won the International Gaudeamus Composition prize for his composition a conSPIracy cantata. The CD Wordless, recieved an honorary mention in the Prix Ars Electronica 2006, and his recent CD, Antichamber won a 2011 French Qwartz Electronic music award. Other prizes include the Dutch Toonzetters prize for best composition of 2010 for paramyth, the Willem Pijper Prize for dreams of the blind and the International Rostrum of Composers Prize 2014 for words and song without words. Together with Andy Moor and Isabelle Vigier he founded and runs the CD label for new electronic music Unsounds. He is a founding member of the ensemble MAZE, and teaches composition at the Royal Conservatory of Music in The Hague."

-Yannis Kyriakides Website (https://www.kyriakides.com/bio.html)
11/5/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Affectio: Desire 1:17

2. Affectio: Pleasure 1:14

3. Affectio: Pain 0:45

4. Affectio: Wonder 0:52

5. Affectio: Contempt 1:02

6. Affectio: Love 0:40

7. Affectio: Hatred 1:12

8. Affectio: Inclination 0:40

9. Affectio: Aversion 1:23

10. Affectio: Devotion 0:16

11. Affectio: Derision 0:53

12. Affectio: Hope 0:36

13. Affectio: Fear 0:48

14. Affectio: Confidence 0:36

15. Affectio: Despair 0:45

16. Affectio: Joy 0:40

17. Affectio: Dissapointment 0:36

18. Affectio: Pity 0:49

19. Affectio: Approval 0:14

20. Affectio: Indignation 0:24

21. Affectio: Partiality 0:27

22. Affectio: Disparagement 0:53

23. Affectio: Envy 0:43

24. Affectio: Sympathy 0:42

25. Affectio: Self-Approval 0:34

26. Affectio: Humility 0:42

27. Affectio: Repentance 0:49

28. Affectio: Pride 0:32

29. Affectio: Self-Abasement 0:32

30. Affectio: Honour 0:33

31. Affectio: Shame 0:24

32. Affectio: Regret 0:52

33. Affectio: Emulation 0:33

34. Affectio: Gratitude 0:38

35. Affectio: Benevolance 0:24

36. Affectio: Anger 0:27

37. Affectio: Revenge 0:21

38. Affectio: Cruelty 1:42

39. Affectio: Timidity 0:26

40. Affectio: Daring 0:46

41. Affectio: Cowardice 0:37

42. Affectio: Consternation 0:35

43. Affectio: Courtesy 0:32

44. Affectio: Ambition 0:22

45. Affectio: Luxury 0:20

46. Affectio: Intemperance 0:24

47. Affectio: Avarice 0:24

48. Affectio: Lust 1:01

49. - 0:05

50. - 0:55

51. Epistola 1 1:53

52. Epistola 2 1:14

53. Epistola 3 0:29

54. Epistola 4 0:58

55. Epistola 5 0:25

56. Epistola 6 1:05

57. Epistola 7 0:40

58. Epistola 8 0:46

59. Epistola 9 0:43

60. Epistola 10 0:24

61. Epistola 11 0:50

62. Epistola 12 1:04

63. Epistola 13 0:57

64. Epistola 14 1:26

65. Epistola 15 0:28

66. Epistola 16 0:40

67. Epistola 17 1:04

68. Epistola 18 0:53

69. Epistola 19 1:57

70. Epistola 20 0:43

71. Epistola 21 0:45

72. Epistola 22 1:09

73. Epistola 23 0:53

74. Epistola 24 0:22

75. Epistola 25 0:54

76. Epistola 26 0:32

77. Epistola 27 0:22

78. Epistola 28 0:36

79. Epistola 29 0:43

80. Epistola 30 0:32

81. Epistola 31 0:43

82. Epistola 32 1:04

83. Epistola 33 0:38

84. Epistola 34 0:15

85. Epistola 35 0:36

86. Epistola 36 0:41

87. Epistola 37 1:41

88. Epistola 38 1:12

89. Epistola 39 0:51

90. Epistola 40 0:38

91. Epistola 41 0:28

92. Epistola 42 0:37

93. Epistola 43 0:54

94. Epistola 44 1:04

95. Epistola 45 0:47

96. Epistola 46 1:11

97. Epistola 47 0:53

98. Epistola 48 1:53

Related Categories of Interest:


Electro-Acoustic
Compositional Forms
Unusual Vocal Forms
Electroacoustic Composition

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