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Paiuk, Gabriel: Adjacent Sound (Another Timbre)

Four works from Amsterdam-based Argentina composer Gabriel Paiuk, particularly "The Construction of an Imaginary Acoustic Space" about the intertwining of technology, affect, space and listening, performed by the New European Ensemble in a mix of strings, reed, brass, piano and tape; also a solo work for cello; a solo work for piano; and a piece for three clarinets.
 

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product information:


Label: Another Timbre
Catalog ID: at186
Squidco Product Code: 31495

Format: CD
Condition: New
Released: 2022
Country: UK
Packaging: Cardboard Gatefold
Recorded by Kaan Yazici (1), Giovanni Magaglio (2) , Elliot Gould (3) and Dario Giustarini.


Personnel:

Gabriel Paiuk-composer

Rada Ovcharova-violin

Tijmen Huisingh-violins

Emlyn Stam-viola

Willem Stam-cello

Matthijs Broersma-cellos

Marijn van Prooijen-double bass

James Meldrum-clarinet

Sebastiaan Kemner-trombone

Hanna Shybayeva-piano

Francesco Dillon-cello

Teodora Stepancic-piano

Anna voor de Wind-clarinet

Jorge Lopez Garcia-clarinet

Enric Sans I Morera-clarinet

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Artist Biographies:

"Gabriel Paiuk (*1975) is a composer and sound artist whose work focuses on the problematisation of the experience of sound in widespread media.

His work takes the form of sound installations and compositions for traditional instruments and particular loudspeaker setups. Recent works have been presented at Gallery W139 and Sonic Acts Festival in Amsterdam.

His instrumental pieces have been performed internationally by ASKO ensemble, Kammerensemble Neue Musik Berlin, Slagwerk Den Haag, Francesco Dillon, Ekkehard Windrich, Modelo62, Rank Ensemble, Ensemble 306, Kwartludium Ensemble, Quinteto Sonorama and Alexander Bruck. His electronic composition / sound installation Res Extensa was awarded the Gaudeamus composition prize in 2006.

He is currently a member of the faculty staff at the Institute of Sonology (The Hague, NL). He was director of the Center for Advanced Studies in Contemporary Music in Buenos Aires (2009) and taught sound design at the Center for Cinematographic Investigations in Buenos Aires (2004-2009).

In recent years he has articulated his compositional practice with theoretical research, leading to talks and workshops in contexts such as the KASK-School of Arts (Ghent), the Amsterdam School for Cultural Analysis (University of Amsterdam), Master Artistic Research at KABK (co-led with Raviv Ganchrow), HKU Utrecht and to a publication in Organised Sound magazine (Cambridge University Press, UK).

He has regularly collaborated with other artistic disciplines, mainly as stable composer of the La Otra dance company (2001-present), regularly staging works for dance/physical theatre in important theatres and festivals in Buenos Aires.

As a pianist-improviser he collaborated with musicians like Axel Dorner, Jason Kahn, Keith Rowe, Andrea Neumann, Burkhard Beins, Rhodri Davies, Gunter Mueller, Lucio Capece, Robin Hayward, Sergio Merce and others, performing in venues and festivals in Berlin, Brussels, New York, Barcelona, London, Paris, Amsterdam and Lisbon and editing records in diverse specialized labels.

He was curator and producer of many contemporary and experimental music series in Buenos Aires since 2000 until 2009."

-Universiteit Leiden (https://www.universiteitleiden.nl/en/staffmembers/gabriel-paiuk#tab-1)
5/18/2022

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"Francesco Dillon (b.Turin, 1973) already has a brilliant international career to his credit, characterised by the originality and variety of the repertoire that he has embraced. As a soloist he has performed on such prestigious concert stages as the Konzerthaus in Vienna, the Muziekgebouw in Amsterdam, the Berlin Philharmonie, the Herkulessaal of Munich, the Laeiszhalle in Hamburg, the Jordan Hall in Boston and the Colon Theatre of Buenos Aires, with such orchestras as the Italian National Radio Orchestra (RAI), the Southwest Radio Symphony Orchestra of Stuttgart, the Radio Symphony Orchestra of Vienna, the Orchestra of the Colon Theatre, Ensemble Resonanz, Oulu Sinfonia Finland, and the Tuscany Regional Orchestra (ORT). Most recently he made an acclaimed debut with the Philharmonic Orchestra of La Scala, Milan, conducted by Susanna Mallki.

Having graduated in Florence under the guidance of Andrea Nannoni, he continued his studies with Anner Bijlsma, Mario Brunello, David Geringas and Mstislav Rostropovich, thereafter studying composition with Salvatore Sciarrino.

In 1993 he was one of the founders of the Quartetto Prometeo, a chamber group of international acclaim and winner of numerous prizes (Prague Spring, ARD Munich, Bordeaux) and recently honoured with the Leone d'Argento award of the Biennale Musica of Venice. Dillon is also a stable member of the Alter Ego ensemble which is regularly invited to the major contemporary music festivals around the world. His passion for chamber music has led to performances with musicians such as Irvine Arditti, Mario Brunello, Giuliano Carmignola, Piero Farulli, David Geringas, Veronika Hagen, Alexander Lonquich, Enrico Pace, Jean-Guihen Queyras.

The profound interest in contemporary music which he has always cultivated has led to solid collaborations with the major composers of our time: Gavin Bryars, Ivan Fedele, Luca Francesconi, Stefano Gervasoni, Philip Glass, Vinko Globokar, Sofija Gubaidulina, Jonathan Harvey, Toshio Hosokawa, Giya Kancheli, Alexander Knaifel, Helmut Lachenmann, David Lang, Alvin Lucier, Arvo Pärt, Henri Pousseur, Steve Reich, Fausto Romitelli, Kaija Saariaho, Salvatore Sciarrino and with cult experimental musicians such as Matmos, and Pansonic, William Basinsky and John Zorn.

Dillon's performances have been transmitted by such important broadcasters as the BBC, RAI, ARD, Radio France, ORF, the Australian Broadcasting Corporation and WDR. He has recorded for the ECM label, as well as Kairos, Ricordi, Stradivarius, Die Schachtel and Touch. He recently recorded for the first time, Variations by Salvatore Sciarrino which received the Diapason d'0r prize, and Ballatta by Giacinto Scelsi, both with the Italian National Radio Orchestra (RAI). As a duo with the pianist Emanuele Torquati, he has brought out three CDs of rare music of Schumann and the complete works for cello by Franz Liszt for Brilliant Classics. Along with his concert activity there have been teaching experiences in institutions such as the School of Music of Fiesole, the Tchaikovsky Conservatory of Moscow, the Pacific University in California, Untref-Buenos Aires, Manchester University. From 2010 he has been artistic director of the season of contemporary music Music@villaromana in Florence."

-Francesco Dillon Website (http://www.francescodillon.com/)
5/18/2022

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"Teodora Stepancic, born in Belgrade Serbia. She studied piano and composition at the University of Arts in Belgrade and the Royal Conservatory in The Hague. Among her teachers are: Gilius van Bergeijk, Yannis Kyriakides, Martijn Padding, Louis Andriessen, Vlastimir Trajkovic, Dejan Stosic, Aleksandar Sandorov, Ljiljana Vukelja, Milica Vasiljevic.

She participated masterclasses for piano, composition, improvisation and electronic music, working with Paul Goulda, Eric Lesage, Kemal Gekic, Messiah Maiguashka, Peter Michael Hamel, Alvin Currin, Richard Ayres, Caliope Tsoupakis, David Toop, Kim Cascone, Ray Lee, Manos Tsangaris, William Forman.

Teodora Stepancic is active as composer, pianist, performer and improviser and collaborated with ASKO Ensemble, Orkest de ereprijes, Holland Symfonia, Netherlandse Blazers Ensemble, PreArt Soloists (Switzerland) etc. She is member and co-founder of may ensembles: ensemble Modelo62 (Holland), D€N HAAG A££$TAR$ €NS€MBL€ SZ group with Miguelangel Clerc and Grzegorz Marciniak und die Serbian Sound Youth mit Maja Lekovic und Svetlana Maras.

Teodora Stepancic has given converts in Holland, Serbia, Switzerland, Israel, Lithuania, UK, Bosnia and Hercegovina, Macedonia, Albania etc., on the festivals such as Gaudeamus Music Week, Dag in de branding, November music, Noordelijk film festival, BBC Proms (London), Process (Vilnius), Internetional review of composers, KOMA (Belgrade)."

-Dumpf (https://dumpf.com/en/edition/teodora-stepancic/)
5/18/2022

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"Anna voor de Wind was born in Groningen, the Netherlands, in 1986. She studied at the Conservatory of Amsterdam clarinet with Hans Colbers and bass clarinet with Erik van Deuren, graduating cum laude from her Master studies in 2010. In 2011 she completed the International Ensemble Modern Academy and received a Master in Modern music at the Hochschüle of Frankfurt.

Anna has a very wide range of work experience, working as a freelancer with many professional orchestras and contemporary music ensembles as well as music-theatre companies. Examples include the Asko Schoenberg Ensemble, Nieuw Ensemble, Ives Ensemble, Veenfabriek and Ensemble Modern. Anna has taken part in many national and international competitions, academies and master classes. In the summer of 2010 she was invited as Young Artist in Residence with the National Youth Orchestra of the Netherlands, and spent time there working closely with the composer Mark-Anthony Turnage, who wrote her a solo piece. It was here that she made her debut as a soloist, with the clarinet concerto by Nielsen.

Anna is active in two newly founded ensembles: Looptail and the Amsterdam Collage Ensemble. With these ensembles she presents an innovative and challenging sound for both creators, performers and the audience alike."

-Looptail Website (http://www.looptail.nl/anna.html)
5/18/2022

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


1. The Construction of an Imaginary Acoustic Space 19:08

2. Disyuncion 10:03

3. El Mismo 5:49

4. Cuando ya no importe 16:20
sample the album:








descriptions, reviews, &c.

"Another Timbre Interview with Gabriel Paiuk

Where are you from, where do you live, and how did you come to contemporary music?

I'm from Buenos Aires (Argentina) and live in Amsterdam (The Netherlands) since 2010. Early on, as a pianist, jazz was the spark to engage with music in an intense way, which led further on to a thorough involvement with free improvised music and the exploration of a specific piano-based practice. Although I was also already composing back then, for some years - the early 2000's - I fundamentally devoted myself to free improvised music, both in Argentina and in different trips and projects in Europe. That period was quite significant in nurturing some of my interests and the approach to sound that I would investigate later on. After this period I felt I wasn't reaching the results I was looking for through improvisation and decided to focus back more into a compositional practice. In the mid-2000's I started to get involved with the use of technology and the material interaction between the technologies used to produce acoustic phenomena and the spaces where these are heard.

Why did you leave Argentina and come to Europe?

In 2001 I started to come to Europe more or less regularly for specific projects - at the beginning mostly involved with free improvised music. In 2006 I won the Gaudeamus Composition prize for my work Res Extensa - which was only my second electronic-based work and my first venture into the sound installation domain - and this opened up a window in The Netherlands, which some years later led to the opportunity of a scholarship to carry out a Master's study at the Institute of Sonology in The Hague.

The truth is that I had not even thought about this possibility in advance, but I was interested in the opportunity of staying for a longer time in Europe after a bit more than 10 years of work in Argentina, playing, composing and organising and setting up concerts and festivals. So I never really fully decided I was going to move out, but after I finished these studies in 2012 and the scholarship ended, I became interested in pursuing some opportunities to continue developing my work in Europe, and I've stayed here since then.

Can you say more about why you think improvisation ran out of steam for you?

Even though I was quite attracted by the music I was producing, especially in some of the collaborations I was engaged in, I was finding myself too often thinking - while I was performing - that I wanted the music to go in a different direction. As this thought became more and more frequent it was clear this specific method of music making was not working for me. I have never lost a fascination for some of the music being made through improvisation and I admire many musicians for whom improvisation is evidently the best tool possible. But I realised I was looking for specific temporal and timbral characteristics that I was not achieving through improvisation.

The possibility of focusing on certain listening situations seemed to be more achievable through a compositional path and this also meant acknowledging my thorough attraction by the act of the rehearsal and the possibility to delve into subtle sonorous adjustments that emerge in those circumstances.

I'm not interested in music technologies, and judge things solely by what the resulting music sounds like. So can you explain more about what drew you to explore these technologies, and how you use them?

That's a very fundamental point, because my work with technology does not arise from a fascination with technologies per se. Rather, what prompted my interest in technology is the fact that it is already embedded in our everyday auditory experience. This means that, through their ubiquitousness in mass-media music and communication, technologies are inherent in the ways we learn to listen. What I'm suggesting here is that microphones, loudspeakers or signal-processing devices are as much technologies as a piano or a violin. They all form how we listen in a certain way, they inform the ways we pay attention to sound or expect sound to behave.

In my work, technologies are not meant as tools or as extensions that enable us to discover "uncharted" territories, but I'm rather focused on interfering or operating on the way these technologies are already part of the sonorous reality we are immersed in.

One example that I delve into in my work is the spatial aspect of the sonorous. I explore this almost with the same criteria in my sound installation work and my pieces for instruments and loudspeakers/electric/electronic sources. On both series of works I draw attention to the way the imprints of recording, reproduction and transduction play a role in how we experience the spatial dimension of sound, and how these processes bear sensitive traces that inform how we engage with it.

How does this play a role in the different pieces on the album?

The four pieces on the CD cover a broad time span. The first piece, which is the most recent, is a clear example of the kind of entwinement between technologies, affect, space and listening that I've been working on for a while. This piece plays with the role of different conditions of sound production in shaping the way we pay attention to sound - how we engage in listening to it. In its live version the piece involves other layers which are not present in the recording. This entails both the synchronisation (and non-synchronisation) between the actions of the players and what is heard (produced at points by a digital soundtrack and at points by a tape machine which is operated by a performer on stage)., As well as the material nuances imprinted on the sound by the use of three different stereo set-ups. Each of these three stereo layers diverge in dimension and placement in relation to the audience, and thus bear spatial and material qualities which are inherent in the ways in which we are exposed to sound in our media-saturated environment. The title of the piece is not meant as a statement of purpose, but rather as a question. The aim is to prompt an instability in the ways in which the sound of music triggers a seemingly imaginary realm and to problematise the role of both audio and instrumental tools in informing this process.

'El Mismo' can be located along the same path. It deals with the unstable identity of the piano sound as technologies of recording and reproduction have transformed and proliferated what the sound of the piano can be. 'Disyunción' does not use any audio technology, but it aso prompts questions concerning our audible engagement with the timbral/material indentity of an instrument and how this unfolds within the performance of memory.

The last and oldest piece - 'Cuando ya no importe', from 2005 - can be located at the beginning of an exploration of the material aspects of listening and a fascination with the subtle transformations of the everydaythat I thought Uruguayan writer Juan Carlos Onetti - to whom the piece is dedicated - explores in his texts. What probably captivated me in his writing is the wayminimal gestures of language subtly put into question the identity of what we perceive as the real.

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