/compositions/

2018

sugarcoating #2, for piano, clarinet and cello

performed by and dedicated to Trio Catchhttp://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

2017

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.

Ensemble Musikfabrik
Christof M. Löser
Recorded and performed live at HMDK Stuttgart, June 2017.

 

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”.

http://kritikaz.com/vijesti/Kritike/32493/Lutka_oslobo%C4%91ena_okova_rije%C4%8Di

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

Ensemble ZKL

Danijela Čolić Prižmić
Marina Kostelac,
Matilda Sorić,
Branko Smiljanić
Adam Skendžić

2016

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