The Electroacoustic Music Concert, 1997

Russian Season 97 festival, Yekateriburg, March, 1997

Organized by T.Komarova, head of Yekaterinburg ElectroAcoustic Music Studio.

Organizational and technical support: the Yekaterinbug House of Actors (concert hall, light and sound equipment), the Urals Centre for electroacoustic music (concert equipment), Yekaterinburg branch of Moder Humanitarian institute.

Financial support: the Ural-Siberian Bank for social development

Information support: ComputerMan, State TV and Radio Co.

Initially it has been conceived as a concert presentation of recent works by the Yekaterinburg ElectroAcoustic Music Studio during the Russian Season ’97 festival. However, in the course of preparation consent has been obtained from Moscow and overseas composers to creatively participate. The program of the concert, as musical critics marked, presented a certain section of electroacoustic music in its modern state and almost all of its directions in a concentrated way – from traditions of concrete music (V.Nikolayev 'Laugh Track') to experiments of creating computer music by means of sound programming tools (Sh. Gainetdinov 'He Will Come…'). The form of presenting electroacoustic music on stage was based on principles found in the concerts of 1992. As elements of visualization, theatric light, plastic movements (T. Komarova ‘Reflections’), computer graphic (V. Volkov ‘Apocalypse’). Some of the compositions presented an integral unity of music and visual arrangement. In one of such experiments (‘Urbis’ by J. Campos) a version ‘fixed’ on a cinema film was the end result of the work. In such form of existence, the piece in a way reminds of a movie. However, it can hardly be called just ‘a movie’ and referred to the genre of video art. The difficulty of defining a genre is caused by the fact that the dramaturgy of the piece is based on development of the sound objects which perform the role of the musical theme, analogous to musical development. Logic of appearance and disappearance of these elements defines the order and logic of appearances of visual images.

Concert of electroacoustic music turned out to be the brightest and most saturated event of the Festival; it showed that the new direction in musical art has not only set on in Yekaterinburg but also has stable tendencies to develop. This was noted by the guests of the festival and representatives of the press. However, the concert was only a part of the program offered by the ElectroAcoustic Music Studio to Yekaterinburg fans of electronic academic avant-garde during the days of the festival. A cycle of lectures on ‘Computer Music in the Multimedia Epoch’ (by A. Smirnov, director of Theremin Centre, Moscow) and creative meetings with participants-guests of the festival (J. Campos, Ecuador; A. Smirnov, Moscow) raised a great interest.

The significance of this cycle of events was far beyond the limits granted to it within the Russian Season festival and was accepted by the musical community of the city as a truly independent ‘festival within a festival’.

In the program of the concert, the following was performed:

  • Lee Tae Hee (South Korea). Allilang
  • Sh. Gainetdinov. He Will Come …
  • T. Komarova. Reflections
  • T. Komarova. Autumn Reverberations
  • V. Nikolayev. Somnambulistic Ring Dance.
  • V. Nikolayev. Laugh Track
  • V. Volkov. Apocalypse
  • A. Dergachev. Just what I fill
  • Jorge Campos (Ecuador). Urbis

Publications:

  • O. Rumyantsev. 'The Paganini Violin - Intel inside?'. //'ComputerMan' № 5, 1997. pg. 23.
  • L.Vakar . 'A story of the electroacoustic music studio'. // Musical Academy, № 3-4, 1998.// From regions of Russia. Yekaterinburg. pg.220-221.

Musicologist M. Mikhailova