sugarcoating #2, for piano, clarinet and cello
performed by and dedicated to Trio Catch – http://www.triocatch.com/
premiered and recorded live at the ECLAT Festival in Stuttgart (Germany) by SWR on 3rd February 2018 in Theaterhaus Stuttgart
sugarcoating #2 is the second piece in the sugarcoating series, which was initially based on re-adapting major sound fetishes in pop-music, based on data provided by Million Songs Dataset, a freely-available collection of audio features and metadata for a million contemporary popular music tracks. If observed from a purely parametrical perspective, those are: reduction and homogenization of pitch and texture, increase in loudness, repetition (loop) and an additional one, which happens to be a by product of other parameters, and that is – density. Density is, in this case, transferred back to the musician(s) by pushing their concentration to the limit by “overwhelming” them with information and micromechanics of perfection. sugarcoating #2 takes a step toward examining the properties of digital information, which can be summed up in 5 terms: synchronization, formal language, errors, copying, granularity and compression.
“… Beyond the specific outcomes discussed above, we now focus on the evolution of musical discourse. Much of the gathered evidence points towards an important degree of conventionalism, in the sense of blockage or noevolution, in the creation and production of contemporary western popular music. Thus, from a global perspective, popular music would have no clear trends and show no considerable changes in more than fifty years. Pitch codeword frequencies are found to be always under the same underlying pattern: a power law with the same exponent and fitting parameters. Moreover, frequency-based rankings of pitch codewords are practically identical, and several of the network metrics for pitch, timbre, and loudness remain immutable. Frequency distributions for timbre and loudness also fall under a universal pattern: a power law and a reversed log-normal distribution, respectively. However, these distributions’ parameters do substantially change with years. In addition, some metrics for pitch networks clearly show a progression. Thus, beyond the global perspective, we observe a number of trends in the evolution of contemporary popular music. These point towards less variety in pitch transitions, towards a consistent homogenization of the timbral palette, and towards louder and, in the end, potentially poorer volume dynamics.” – excerpt from Measuring the Evolution of Contemporary Western Popular Music by Joan Serra, Alvaro Corral, Marian Boguna, Martın Haro & Josep Ll. Arcos
sugarcoating, for ensemble
“sugarcoating” is the first piece in the sugarcoating series, which is based on re-adapting major sound fetishes in pop-music, based on data provided by Million Songs Dataset, a freely-available collection of audio features and metadata for a million contemporary popular music tracks. If observed from a purely parametrical perspective, those are: reduction and homogenization of pitch and texture, increase in loudness, repetition (loop) and an additional one, which happens to be a by-product of the other parameters, and that is – density. Density is, in this case, transferred back to the musician(s) by pushing their concentration to the limit by “overwhelming” them with information and micromechanics of perfection.
Žabica Kraljica (Frog The Queen)
Žabica Kraljica (Frog The Queen) is a puppet theatre play for children, made for the opening of the 29th Music Biennale Zagreb. It is based on a traditional Croatian story, which tells the tale of a frog, whose beautiful voice enchants the young prince.
In a total of 5 performances, the show received critical praise and was named “the best puppet theatre play made in the past 10 years in Croatia”.
Žabica Kraljica (Frog The Queen) 2017
co-production of Music Biennale Zagreb and Zagreb Puppet Theatre (ZKL)
Music: Sara Glojnarić
Director: Rene Medvešek
Scenography and puppets: Danijel Srdarev
Light design: Sven Čustović
Marija Lešaja, soprano
Josip Konfic, percussion
Sanja Vrsalović, piano
Gustav Barišin, double-bass
Danijela Čolić Prižmić
BSIDE: Tschai IV/1, for orchestra
(2016) Recorded live on Samobor Music Festival, with Croatian RSO under the baton of Mo. Mladen Tarbuk
BSIDE: Tschai 4/1, for orchestra (2016): B – SIDE: Tschai 4/1 is a remix of the 1st movement of Tschaikowsky’s 4th Symphony. “A remix, by its definition, is a piece of media which has been altered from its original state by adding, removing, and/or changing pieces of the item. It can be perceived as a creative personal rendition of a song/video. Furthermore, a remix may also refer to a non-linear re-interpretation of work (media other than audio, such as hybridizing process combining fragments of various works.
The process of combining and re contextualizing will often produce unique results independent of the intentions andvision of the original designer/artist. That brings me to re-contextualization: a process that extracts text, signs or meaning from its original context – in order to produce it into another context. Since the meaning of texts and signs depend on their context, re-contextualization implies a change of meaning and often of the communicative purpose too. ” Musicians will use, other than their instruments, their smartphones and megaphones as playback devices for the electronically manipulated pre-produced YouTube recordings of the 4th symphony, recorded by famous orchestras and conductors (Karajan/WSO, Abbado/CSO, Barenboim/CSO, Gergiev/RPO). The material in this piece is entirely Tschaikowsky’s music, which has been altered with the same techniques as a club remix would. Given that I have used those strategies to manipulate with the existing material, it was only logical to take the form out of a typical club song, and not to follow the form of the symphony. The form is built in the following way: Intro – Verse – Hook – Break – Hook – Outro. I chose Tschaikowsky because his music fits into a romantic music archetype, without having to deal with the
problematic sociological connotation of music Wagner’s, Strauss’ or Mahler’s music has. The goal of this piece is to use the strategies from the mainstream club music world in a context of a traditional classical music concert, with an orchestra as a sort of a live sampler, where those strategies are unexpected or unwelcome, and to clash two aesthetics, two ideas, two lifestyles – MTV/YouTube/electro-pop/mainstream aesthetic and the traditional classical orchestra music aesthetic and to observe it they can coexist.
Indispensable Ms. Jones, for ensemble & tape
(2016) Recorded live on Showroom of Contemporary Sound Zagreb, by The Black Page Orchestra – http://www.blackpageorchestra.org/
Alessandro Baticci, flute
Peter Mayer, e-guit
Alfredo Ovalles, keyboard
Maiken Beer, cello
Kaja Farszky, percussion
Matthias Kranebitter, klangregie
Indispensable Ms. Jones, for ensamble and tape (2016) – the whole piece was constructed out of a late 50’s sexistic ad for Xerox copying machines. I took over the “dramaturgy” of the commercial, it’s music-to-voice ratio and I magnified it and transferred it to the ensamble and electronics. The tape part is made entirely from this commercial, and the ensamble in a way reconstruct the musical interventions in the commercial itself.
Here is the link for the commerical: https://www.youtube.com/watch?v=Spb0bo3IT0I
Mixtape, for voice and cello
(2015) Recorded live at the Music Biennale Zagreb. Performed by Tomislav Fačini, voice and Pavle Zajcev, cello.