Workshop for computer-controlled contrabass clarinet CLEX and ensemble
Tutors: Ernesto Molinari (CLEX) and guest tutors from HKB: Daniel Weissberg, Michael Harenberg (composers), Beat Müller (sound engineer)
Workshop dates: 24.07., 25.07., 26.07.2020
Workshop times: 13.00–19.00 on all three days (ensemble sessions: realisation of an improvisational algorithmic work)
Hands-on workshop for other interested singers and instrumentalists
Workshop discussing the aspects and use of Max MSP live electronics in composition
Location: Akademie für Tonkunst
Possible number of active participants in ensemble sessions: 6 – 9 musicians (singers, all wind instruments and strings)
Open to listeners: Yes
How to sign up: Inscription for ensemble sessions and additional sessions after booking period. Summer Course participants will be informed when and how to sign up.
Participants: Singers, all wind instruments and strings
We also welcome: composers, tutors and anyone interested
- in the interfaces between improvisation and composition
- the concept of iPad-based algorithmic composition
- in the control, programming and realisation of live electronics (Max/MSP)
Prerequisites for participation: Advanced instrumental level, creative curiosity, interest in interfaces between improvisation and composition, live electronics and multimedia concepts. The “score” or playing instructions are found on the iPads which will be provided.
By digitizing the mechanics, the CLEX (double bass clarinet with a computer-controlled dynamic sensor) is able to send and receive MIDI information. In “Convert Ego” the CLEX becomes the central spot in a constantly changing network of up to ten instruments. They are connected to each other via iPads and able to communicate with the CLEX and each other in changing configurations, individually but also in groups. This makes it necessary for the players to be highly cooperative and willing to listen to the respective connections with changing partners and at the same time take responsibility for the sound of the ensemble.
The sound of every instrument is being analysed and generates instructions for other players. The musicians interact and mutually control each other. The live generated instructions are communicated via iPads. The sound of the instruments is extended with live electronics.
Every performance of “Convert Ego” will sound different. The performers must have a high degree of personal commitment. They not only have to fulfil the role as a performer, but are also required to improvise and to take responsibility for compositional decisions.
The musicians move the music individually and in changing groups. All instruments will be equipped with microphones and will have a reference loudspeaker and an iPad.
There is a thin line between technically supported composition and improvisation: Perhaps a new approach to interpretation?
Trailer of the world premiere: