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19/03/2022 - Casa da Cultura de Paredes (PT) - Frederic Cardoso
Programme notes
This work is the result of a long research journey into using technology and electronics not only to shape my composition and orchestration approach but in this case, to pursue a higher degree of performative autonomy. I started sketching this work while trying to make use of Antescofo, the score-following system that allows the computer to automatically follow what the bass clarinettist was playing and, in the meantime, to control the electronics. However, there is a wide range of variables that the computer is constantly being given whilst doing this. Any deviation on those and the software is no longer able to proceed. On the one hand, the computer can control parameters in a really short period, but on the other hand, to take advantage of this I would need to deeply shape my approach to what I knew the software was able to cope with. After a while, this raised the question, would this technology be truly necessary for this work or was I just using it because it was available?
The latter quickly seemed to be the correct answer. As such, I ditched the score-following system and focused on developing a work focused on the threshold between using the electronics to both follow and anticipate the performer. Additionally, the use of an instrument capable of a wide frequency range allowed me to better dilute the instrumental sound within the electronics and vice-versa, leading to a musical dialogue where identity proves to be hybrid.
Written between May 17th 2021/March 7th 2022 as part of my Doctor in Music — Composition at the Royal College of Music, London (PT). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT); Royal College of Music (EN); Leões de Portugal (PT); Foundation for Science and Technology (PT) and Portuguese Republic — Ministry of Culture (PT).
© PRS/MCPS/SPA ISWC T-309.756.848-0
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Premiere
19/03/2022 - Casa da Cultura de Paredes (PT) - Frederic Cardoso
Programme notes
This work is the result of a long research journey into using technology and electronics not only to shape my composition and orchestration approach but in this case, to pursue a higher degree of performative autonomy. I started sketching this work while trying to make use of Antescofo, the score-following system that allows the computer to automatically follow what the bass clarinettist was playing and, in the meantime, to control the electronics. However, there is a wide range of variables that the computer is constantly being given whilst doing this. Any deviation on those and the software is no longer able to proceed. On the one hand, the computer can control parameters in a really short period, but on the other hand, to take advantage of this I would need to deeply shape my approach to what I knew the software was able to cope with. After a while, this raised the question, would this technology be truly necessary for this work or was I just using it because it was available?
The latter quickly seemed to be the correct answer. As such, I ditched the score-following system and focused on developing a work focused on the threshold between using the electronics to both follow and anticipate the performer. Additionally, the use of an instrument capable of a wide frequency range allowed me to better dilute the instrumental sound within the electronics and vice-versa, leading to a musical dialogue where identity proves to be hybrid.
Written between May 17th 2021/March 7th 2022 as part of my Doctor in Music — Composition at the Royal College of Music, London (PT). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT); Royal College of Music (EN); Leões de Portugal (PT); Foundation for Science and Technology (PT) and Portuguese Republic — Ministry of Culture (PT).
© PRS/MCPS/SPA ISWC T-309.756.848-0
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓
Premiere
19/03/2022 - Casa da Cultura de Paredes (PT) - Frederic Cardoso
Programme notes
This work is the result of a long research journey into using technology and electronics not only to shape my composition and orchestration approach but in this case, to pursue a higher degree of performative autonomy. I started sketching this work while trying to make use of Antescofo, the score-following system that allows the computer to automatically follow what the bass clarinettist was playing and, in the meantime, to control the electronics. However, there is a wide range of variables that the computer is constantly being given whilst doing this. Any deviation on those and the software is no longer able to proceed. On the one hand, the computer can control parameters in a really short period, but on the other hand, to take advantage of this I would need to deeply shape my approach to what I knew the software was able to cope with. After a while, this raised the question, would this technology be truly necessary for this work or was I just using it because it was available?
The latter quickly seemed to be the correct answer. As such, I ditched the score-following system and focused on developing a work focused on the threshold between using the electronics to both follow and anticipate the performer. Additionally, the use of an instrument capable of a wide frequency range allowed me to better dilute the instrumental sound within the electronics and vice-versa, leading to a musical dialogue where identity proves to be hybrid.
Written between May 17th 2021/March 7th 2022 as part of my Doctor in Music — Composition at the Royal College of Music, London (PT). With the support of The ACTOR Project (CAN); Calouste Gulbenkian Foundation (PT); Royal College of Music (EN); Leões de Portugal (PT); Foundation for Science and Technology (PT) and Portuguese Republic — Ministry of Culture (PT).
© PRS/MCPS/SPA ISWC T-309.756.848-0
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓