Deep Listening – Festival 33,7

Mirela Ivicevic (*HR, 1980)
SELFLOVE I (2017) tape / acousmatic pieces – 5,5’
“Made from *Her absence filled the world* for string orchestra (2017) – Flourescent memories. Fragments of a string orchestra piece of mine, cut and melted into a new dream. Les petites madeleines with a slight hallucinogenic effect. Pulling me deeper into what I want.”

Ângela Da Ponte (*PT, 1984)
Homenagem Subconsciente (2015) stereo fixed medium – 7,5’
“Translated as Subconscious Hommage this work explores the juxtaposition and interaction of various elements that are currently my interest of research: the use of traditional activities/songs from S.Miguel Island (the Azores) and its integration in electroacoustic context. The material explored in this piece is a mix of field recordings of festivities in my homeland (the Azores), studio processed based sounds and analog synthesis. The main concept behind this piece is the one of framing stories (similar to 1001 Arabian Nights) where the main story unfolds different little stories with different characters.”

Fátima Fonte (*PT, 1983)
Claro-escuro (2008) tape / acousmatic pieces, for electronics – 6’
“This piece has departed from an audio format considered “less sophisticated” – the general midi – with the goal of creating several variables to give it a more personal and characteristic sonority. The title comes from the subtleties and variations that exist within a black and white tool.”

Roland Wiltgen (*LU, 1957)
Dreamgarden 1 (2022) acousmatic pieces – 5’
“Dreamgarden 1” as well as its slightly more complex sister “Dreamgarden 2” are ambient-music style oniric descriptions of two landscapes at dawn. There are always three main layers: a set of birdsong, a cycling harmonic structure and all kinds of other more or less «parasitic noises », natural or not.

Annette Vande Gorne (*BE, 1946)
Bois (1986) acousmatic pieces -12’
Bois, whose writing is based on proliferation and ‘shuffling’ [a SYTER sound processing technique], is part of a more general research on nature as a model, a very old functioning of the human mind brought up to date in the context of computer modelling (in computer graphics for example).

Katalin Ladik (*EX-YU, 1942)
Phonopoetica (1976) phonetic interpretation of visual poetry – 15’
Katalin Ladiks work is based on a mix of genres (electronic, non-music and sound-poetry) and its style is experimental, including spoken word. Phonopoetica, published in 1976 in Belgrade, features vocal interpretations of visual poems by experimental poets.