INTROSPECTION - Work metamorphosis through various media was conceived as a research project in the field of music art. The project participants are professors of the University of Zagreb Academy of Music: composers from the Department of Composition and Music Theory, and performers from the Department of Piano, Harpsichord, and Organ. The project was developed through several phases. The initial phase included the selection of existing piano compositions that were recorded at the Multimedia Studio and Musical Synthesis of the Zagreb Academy of Music. The recording was then used as source material for the research and transformation of the recorded sound into an electronic media format. The album was finalized at the Recording Studio of the Blagoje Bersa Concert Hall at the University of Zagreb Academy of Music.

 

The recorded music is featured through two different media - the recorded material served as a base for creating novel compositions using the equipment procured for the project. The end result of the project is an album that permanently captures the creative process of the authors, influenced by the performers themselves through their interpretations of existing compositions. The aim of the project is to present the authors’ creativity through an introspective approach to their own compositions, as well as the possibilities of computer-aided transformation of the original material.

 

The project was financed by the University of Zagreb “Institutional financing of scientific and artistic activities fund.”

 

 

About the pieces

 

The Four Piano Etudes were composed in 2002 for the international competition Etudes and Scales.

 

El Etida: The first motif of Piano Etude No. 1 serves as a trigger that propels us into the magical world of sounds created by introspection and X-ray images of the piano tone, followed by a reminiscence of the second etude that turns into a cacophony of “concrete” piano sounds. From the “ugly" mass emerges the spirit of the melody (the theme of the third etude) and fades into silence. — Zlatko Tanodi

 

Quadro (Italian: painting) is a piano piece composed in 2002 and written for Damir Gregurić, who premiered it at the Days of Croatian Music. It describes the emergence of a visual artwork; the artist is mixing the colors, pulling lines, splashing paint across the canvas.

 

Disproving the Alibi, an electronic piece (consisting exclusively of piano sounds from the work Quadro):

"... You question forgetting,

Disproving the alibi,

you choose a role like an evening dress,

In the passage I am struck by nocturnal scent,

saying,

Wake up,

Get moving..."

(EKV, Ti si sav moj bol / You Are All My Pain)

 

— Frano Đurović

 

as the time...

In the summer of 1997, as young students of composition, we were given the opportunity to take part in the International Workshop for Young Composers in Radziejowice, Poland. The two-week stay at that mansion was enveloped in the anticipation of the announced arrival of Krzysztof Penderecki. Our colleagues had arrived from different parts of the world, from New Zealand, Australia, Ireland, all in the hopes of meeting the mage of contemporary music in person and for an opportunity to present their works to him. But in the end Zygmunt Krauze informed us that Penderecki would regrettably not be coming after all. But as it turned out, during the two weeks of isolation, we were missing Penderecki no more than he was missing us, and in a much wider context. It seems to me that him not coming marked an important moment in our maturation, like an event that marks a tectonic shift between musical periods. By the way, it should be mentioned that the other lecturers, Jack Body from New Zealand and Peter Michael Hamel from Germany, both of whom were wonderful moderators, had had a much greater influence on us than they ever could have imagined. Soon after returning to Zagreb, I started working on a piano piece entitled As the time...

 

What would this piece sound like had Penderecki appeared after all? Although it is hard to imagine how it would have affected the piano piece, I am certain that 20 years earlier the electronic piece ...summons would definitely have been different. And would I even be composing electronic compositions right now? Perhaps I would have become a pilgrim to the ISCM (International Society for Contemporary Music) conferences, deceiving myself that ICMC (The International Computer Music Conference) did not exist. ISCM or ICMC? The album project of INTROSPECTION seems to make a kind of reconciliation between the two worlds, although this was not my intent. Nor was it to belong to certain associations or stylistic determinants. I do not strive for specific messages or meanings. My electronic piece can be validly described in a few words: shaping of sound in time - perfectly enough.  — Vjekoslav Nježić

 

Composition What's the time? is based on two components - a time component signifying a clock's pulse rate and a manipulation of a minimal amount of material independent of time flow. The composition is a kind of compositional etude – how to achieve as a fully rounded form with as little material. The composer's tendency was to create an image reminiscent of the minimalist approach to material selection, without affecting its formal development or time flow.

 

Overload is a composition based on recorded material of the composition What's the time?. With the help of sound-processing techniques the material is transformed into an electronic medium that has completely eliminated any trace of the original piano sound. — Krešimir Seletković



 

 

 

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