electrocd

Track listing detail

We are the Voices of the Wandering Wind

Adam Stanović

  • Year of composition: 2018, 22
  • Duration: 7:07
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Worldwide Universities Network (WUN)
  • ISWC: T3114662709

Stereo

ISRC CAD502210030

  • 44,1 kHz, 24 bits

“… which moan for rest and rest can never find…”

Edwin Arnold, The Deva’s Song, 1879

I was inspired to write this piece whilst on the 2018 Klingler ElectroAcoustic Residency (KEAR) (Ohio, USA). Each day, the endless wind blowing across the Ohio plains found its way through a tiny gap in the studio window, producing a high whistle, that I eventually managed to record. A few months later, in Lisbon (Portugal), I heard the wandering wind again. This time it was soft and low, and as I listened, half in sleep, it turned to song… a moan, a sigh, a sob, a storm, a strife!

[viii-22]


We are the Voices of the Wandering Wind was realized in 2018 at the studio of Sydney Conservatorium (Australia), and premiered on October 26, 2018, as part of the festival L’Espace du son at Théâtre Marni in Brussels (Belgium). The piece was commissioned by the Worldwide Universities Network (WUN). Thanks to Damien Ricketson and Daniel Blinkhorn for their generous support and to Adrian Moore and Dale Jonathan Perkins for donating additional materials used in the piece. We are the Voices of the Wandering Wind was substantially recomposed in 2022 at the composer’s studio in Sheffield (England, UK).


Premiere

  • October 26, 2018, L’Espace du son 2018: Portrait et carte blanche: Adam Stanović, Théâtre Marni, Brussels (Belgium)

Composition

Revision

Baltazar’s Adventure through The Great Machine

Adam Stanović

  • Year of composition: 2019
  • Duration: 11:30
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Kelham Island Museum — Sheffield Industrial Museums Trust, Arts Enterprise — The University of Sheffield
  • ISWC: T3114662743

Stereo

ISRC CAD502210031

  • 44,1 kHz, 24 bits

To Ozzy, Zac, and Kaia

In early May 2019, composers working in the city of Sheffield (England, UK) recorded sounds in and around its Kelham Island Museum, using these to create musical works that resonate with the space and place of Kelham Island. In much the same way as one might imagine the transformation of the spaces of heavy industry, such as Brooklyn Works becoming residential accommodation, the ten sound artists transformed the sounds of Kelham Island, giving them a new home.

This piece imagines the huge machines as if from a child-like fantasy. It follows the journey of fiction character — Baltazar — as he travels into, and through, the greatest machine of all. Join Baltazar as he journeys through The Great Machine in search of its beating, mechanical heart. As the machine judders and splutters into life, will he avoid the pistons and valves, cogs and bursts of steam? Warning: contains scenes of mild peril.

[vii-22]


Baltazar’s Adventure through The Great Machine was realized in 2019 at the University of Sheffield Sound Studios (USSS) (UK), and premiered on July 17, 2019, during the concert From Brooklyn Works to Brooklynism: An Evening of Sonic Art and Poetry at the Kelham Island Museum in Sheffield (England, UK). The piece was commissioned by the Kelham Island Museum — Sheffield Industrial Museums Trust, and Arts Enterprise — The University of Sheffield. Thanks to Amanda Crawley-Jackson. Baltazar’s Adventure through The Great Machine was a finalist in the Musica Nova 2021 International Competition of Electroacoustic Music (Prague, Czech Republic), and at the Prix Russolo (Annecy, France, 2021).


Premiere

  • July 17, 2019, From Brooklyn Works to Brooklynism: An Evening of Sonic Art and Poetry, Kelham Island Museum, Sheffield (England, UK)

Awards

Composition

Helix

Adam Stanović

  • Year of composition: 2017-18
  • Duration: 8:13
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T3114662710

Stereo

ISRC CAD502210032

  • 44,1 kHz, 24 bits

In early 2017, during a residency at the Holst House in Aldeburgh (England, UK), I started work on a new compositional method in which materials were joined together in a sequence, or chain, and then rotated around a central axis. This method allowed me to work with a selection of disparate materials whilst retaining a sense of continuity in terms of their overall behaviour. Initially, the method was very slow, and only allowed me to work with granular materials.

During a residency in 2018 at Mise-en_Place Bushwick, Brooklyn (New York, USA), I discovered a similar method for rotating sets of sustained materials, and this enabled me to continue working on the piece. Helix was further developed, later in the same year, at the studio of Sydney Conservatorium (Australia).

The title and form of the piece reference the method of working.

[vii-22]


Helix was realized in 2018 at the studio of the Holst House (England), Mise-en_Place Bushwick (USA), and Sydney Conservatorium (Australia) and premiered on October 7, 2018, during The Fourier Festival in Vienna (Austria). Under its working title Circle of Fifths, Helix was awarded 2nd Prize ex æquo at the >SYNC.2018 International Competition of Electroacoustic Music and Multimedia (Yekaterinburg, Russia, 2018).


Premiere

  • October 7, 2018, The Fourier Festival: Komponistenportrait: Adam Stanović, Nordbahn-Halle, Vienna (Austria)

Awards

Composition

To US.S..S...

Adam Stanović

  • Year of composition: 2021
  • Duration: 9:18
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T3114662798 / T3127465827

Stereo

ISRC CAD502210033

  • 44,1 kHz, 24 bits

Over the past ten years, I have been constantly influenced and inspired by the works of my various students and colleagues in the University of Sheffield Sound Studios (USSS) (UK)… to the point that my musical ideas and interests have been profoundly shaped by the people that I have had the pleasure of working with. In early 2022, I left Sheffield’s music department, and this piece was my parting ‘gift’: an homage to my amazing colleagues, students, and friends that have been — and continue to be — such an inspiration. It contains references to around 30 of my students and their unique interests, but starts with a lengthy pastiche of Adrian Moore’s Counterattack.

To US.S..S… is, in a sense, my view on where acousmatic music is going; a blending, fusing, integration of ideas old and new, clichéd and novel, emerging and disappearing… In my postmodern ‘toast’ to the University of Sheffield Sound Studios (USSS), therefore, please raise your glasses ‘To Us…’ or rather, ‘To USSS…’ or rather, ‘To US.S..S…’.

[vii-22]


To US.S..S… was realized in 2021 at the University of Sheffield Sound Studios (USSS) (UK) and premiered on November 27, 2021 during the Sound Junction festival in Sheffield. Thanks to Adrian Moore for his friendship and support over many years. To US.S..S… was the winner in the Sound Spaces 2022 competition (Malmö, Sweden, 2022), and received an Honourable Mention in the 14th Destellos Competition of Electroacoustic Composition (Mar del Plata, Argentina, 2022).


Premiere

  • November 27, 2021, Sound Junction Autumn 2021: Concert 2: Adam Stanović, Firth Hall — Firth Court — The University of Sheffield, Sheffield (England, UK)

Awards

Composition

Goodnight, Tin Hau

Adam Stanović

  • Year of composition: 2021
  • Duration: 20:54
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T3114662787

Stereo

ISRC CAD502210034

  • 44,1 kHz, 24 bits

Between 2016 and ’20, I had the privilege of working in Hong Kong, as an examiner for one of the various universities. During my visits, which always lasted around a week, I stayed in the Causeway Bay area of the city where, jet-lagged and unable to sleep, I would spend hours wandering the balmy, midnight streets. Disorientated and exhausted, I witnessed something unforgettable — the moment when the Hong Kong day collapses into night. Although the humidity lingers well into the early hours, this moment produces something of a pause… a breath… a gathering of forces… This moment was never silent, however. The city crackled, as if an electrical charge arced through the sweaty streets.

Goodnight, Tin Hau uses recordings from my visits, along with an arch-form, in an attempt to re-live that moment. As I composed, however, I became increasingly aware of the changing political situation in Hong Kong, and I now reflect on those four years as part of a much more serious pause… a collapse… a gathering of forces…

[viii-22]


Goodnight, Tin Hau was realized in 2021 at the University of Sheffield Sound Studios (USSS) (UK) and premiered on October 21, 2021, during the concert Resonant Pasts, Sonic Futures at Theatr Bryn Terfel in Bangor (Wales, UK). The piece was commissioned by Ina-GRM. Goodnight, Tin Hau was a finalist in the Musica Nova 2021 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere

  • October 21, 2021, Resonant Pasts, Sonic Futures: Adam Stanović…, Theatr Bryn Terfel — Pontio — Bangor University, Bangor (Wales, UK)

Awards

Composition

Hymn Without Words

Adam Stanović

  • Year of composition: 2019
  • Duration: 11:13
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T3114662721

Stereo

ISRC CAD502210035

  • 44,1 kHz, 24 bits

To Dale Jonathan Perkins

In early 2019, I was shocked to discover that my good friend, composer and educator Dale Jonathan Perkins, had suffered — but thankfully survived — a heart attack. During the slow months of his recovery, I found myself reflecting upon something that Dale — more than anyone — has taught me; it is possible to explore a never-ending series of new musical ideas without needing to restrain or compromise one’s own compositional voice.

In celebration of this idea, Hymn Without Words is dedicated to Dale, his music, and his aesthetic. It features extensive references (in both title and music) to Dale’s well-known cycle of works, Voice Without Words, particularly in terms of the establishment and disintegration of materials, relationships between pitch and distortion, voice and the absence of voice.

[vii-22]


Hymn Without Words was realized in 2019 at the University of Sheffield Sound Studios (USSS) (UK) and premiered on April 27, 2019 during the Sound Junction festival in Sheffield.


Premiere

  • April 27, 2019, Sound Junction April 2019: Concert 4: Featuring David Berezan, Firth Hall — Firth Court — The University of Sheffield, Sheffield (England, UK)

Composition