This is a screenshot of Jakez's computer, with software designed by the brilliant Marcin Wierzbicki. This screen is what Jakez will be looking at when he is being the sound technician for Isabelle Perrin's upcoming performance of Sikora's blue harp concertino. Jakez will simultaneously follow the 112-page score, change the sound effects and adjust the mixer. If you are going to the concert, feel free to offer him a nice drink in the bar afterwards.
On the subject of music technology, Camac's MIDI harp has been enjoying another residency: this time, at the Paris Conservatoire. This Friday, at 7PM in the CNSM's Espace Maurice Fleuret, there will be a chance to hear some of the results of the residency. Anaëlle Tourret will perform the world premiere of Tomas Koljatic's La Lyre Cassée, for Camac MIDI harp and electronics in real time.
Tomas writes:
"La Lyre Cassée (2012) was writting after my year of studies at the IRCAM, where I took Cursus 1 in music technology. As part of this course, I was able to compose a study, La Lira Quebrada, which forms the basis of La Lyre Cassée. Both works are written for the harp equipped with MIDI technology developed by Camac, which allows us to pick up the data produced by the note, and by the intensity with which the performer plays it. This data can be computer-processed and used to control musical effects. For example, the work contains a number of "classical" processing techniques, such as delay, mixing, different types of adjustment, and so on. The parameters vary according to the pitch and dynamic of the note played. In the piece, I wanted to steer the electronics towards sounds close to the harp, that is, towards resonance. Both the instrumental and electronic sections draw on delays of varying speed, which create a polyrhythmic, unstable atmosphere.
La lyre cassée, an image that reminds us of Classical antiquity, serves as a starting-point to envisage a harmonic path that grows more and more opaque, suggesting playing on an instrument that is relaxing little by little.
It only remains for me to thank Anaëlle Tourret, to whom the work is dedicated, for her serious and detailed investment in this project, and above all for her patience."
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