12 – 16 february 2024 Belgian Music Days


An electroacoustic adventure around the human voice

Concert on 14 February at 9 p.m.
(Bozar Studio, Palace of Fine Arts, Rue Ravenstein 23, 1000 Brussels)

Presented by the Belgian Federation for Electroacoustic Music (FeBeME-BeFEM), which has represented Belgium internationally in this field of music since 1994, notably through its membership with ICEM / IMC – UNESCO.

The composers and improvisers shape their works themselves, unless otherwise stated.

Programme

Tympocaine 200 (Roald Baudoux, Hugues Peeters)
Vox, sans i, sue. ±10′
Free electroacoustic improvisation, multiphonic

This two-part improvisation uses voices collected from the world memory of recorded sounds. Nothing systematic and without a stamp of particular influences. Rather something of varying and then with voices. If you end up thinking ‘I hear voices’, that’s quite normal.

Caroline Profanter
Stimmung (2024, world premiere) 10′
Acousmatic music, quadraphonic

The word Stimmung means “tuning” in German and includes the word “voice”. It also refers to a state of mind, mood or temperament. I used various recordings of human and non-human voices, intentionally or unintentionally captured during field recordings. They are embedded in the environment, in an everyday temporality, part of a dense texture and passing through different states of consciousness and of intelligibility: speaking, shouting, singing.

Joris De Laet
Etude aux inattendus (2012) 8’43
Acousmatic music, octophonic

This composition follows a connection between sound structure and its temporal development.
The trajectories of the chosen sound parameters are convergent and concentrate towards a precise end result. They may deviate from this when sound conglomerates disintegrate into an arbitrary state. The spatiality of the composition was established during the composition process and functions to prevent sound masking, which can occur due to the density of the global sound spectrum.

Todor Todoroff
Voices Part IV – Hallucinations (2024, world premiere) 10′
Acousmatic music, 12 tracks

In the Voices cycle, Voices Part IV – Hallucinations continues the exploration of the voice, its resonances and transformations. Journeys through intuitions and analogies, disruptions of the senses and phantasmagoria with the words of Arthur Rimbaud, fuelled by the vocal explorations of François Vaiana, accompanied by digital editing.

PAUSE

Dirk Veulemans
Hoe mooi is de toekomst? (translation: How beautiful is the future?) (2019, new adaptation 2024) 9’30
2 Pipe organs, video, acoustic music, octophonic

Two compositions from this project: In ‘Absolutely Tremendous‘, the human voice is rendered acoustically through a self-developed scanning technique by a self-built pipe organ. The voice is thus detached from the person, bringing the drama of the message to the fore. The acoesmatic ‘In Paradisum‘ stands in opposition to the first movement and can be interpreted in various ways.

Charo Calvo
Hüzün (2024, world premiere) 10′
acoustic music, stereo

Laryssa Kim
InCanto (2024, world premiere) 8′
acoustic music, quadraphonic
Spatialisation : Thibault Madeline

In this quadraphonic fantasy, Voce sings magic formulas, expresses desires, sighs, gets bored, expresses wisdom… A ritual, a magic potion, and then waiting, watching… It’s not always effective, at least not in the way the mind imagines. But everything works out in the end, because “Thy will be done, not mine”.

Leo Kupper
Rezas Populares do Brasil (1998) (parts 1, 3 & 4) 11’57
Acousmatic music, stereo
Spatialisation : Todor Todoroff

Rezas Populares do Brasil is a composition inspired by Brazilian folk traditions and performed by two equally impressive and moving voices, a mezzo-soprano, Anna Maria Kieffer, and a bass, Eduard Janho-Abumrad. It consists of four movements, of which we listen to Meu Anjo, O Ar Vivo and Sabatrana.