Audio Control Turn on Yuval's sonic flow

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Audio Control Turn on Yuval's sonic flow
Audio Control

Dedicated to David Lynch
for viola, Saxophone, Percussions, analogue synthesizer & live mixing
Performing: Ensemble Tempo Reale
Festival Tempo Reale
Centro di ricerca Tempo Reale, Sala Limonaia, Florence, Italy – October 10, 2015

Alto saxophone and its (6) multiplications, viola and its (6) multiplications, precessions and its (6) multiplications, analogue synth and its (6) multiplications & live mixing.

In the cover image of Multiplications N.1 appear two women faces, one glancing forward, the other closing her eyes, in transparency on a liquid texture, and beneath it a naive drawing of an old bus or truck (taken from an Ex-Voto gallery) moving forward and fading toward a crossroad of railways. The image, even though clear in its ingredients, is completely unclear in its meaning: is it a scene of danger or relief, of intimacy or loneliness, memory or present, tragedy or saving?

From its first page to its last, the score seems to create a game of clues between the composer and the interpreter, between the music and the public, in which constant visual information puts familiar ingredients into an unsolvable equation of narrative meaning – repeated female silhouettes, deers with children faces, a running man, dark photograms and tree branches thread into graphical elements and musical notation, under Van-Gogh’s sun. The function of these elements is too unclear: are the signs to be performed by the musicians, an atmosphere, or maybe they are an independent work of art, parallel to the composition?

From its preference till its end, the Multiplications N.1 is an active reflection of the aesthetics of uncertainty, the storytelling of the uncanny, the fragility of sign, symbol and their interpretation. Inspired by science (Chaos theory, Feynman’s idea of sum-over histories), of literature (Hoffman’s Sandman) Psychology (Frued’s“”Das Unheimliche”), and film (David Lynch), Avital’s Multiplications N.1 presents to both eye (score filled with visual elements) and ears a map of the paradox of familiar yet unfamiliar, trailed somewhere between a comics novel, a collage work and a detective diary. And to the performer of this piece this game of parallel interpretation and meaning takes a whole new level when they are asked in the score to multiply their selves six times each through multilayered recordings, generating 7 parallel quartets of which 6 are mixed live by a conductor/super-narrator.

The musical score of Multiplications N.1, written having in mind the unique capacities of the members of TEMPO REALE ELECTROACOUSTIC ENSEMBLE MUSICA, requires four high level soloists of contemporary music with important improvisation and real-time composition skills and an electronic musician capable of writing custom softwares for the live electronics and mixing section. The score, which includes sonic textures, complex polyrhythm patterns, melody, groove, spectral fields and ostinato parts, is dialoguing in its vocabulary with a very wide prism of musical genres outside the box of “classical” contemporary music scene: Rock (Metal, psychedelic), free Jazz, noise, Jungle, film music.

Percussions – Jonathan Faralli, Viola – Michele Foresi , Saxophone – Valerio Barbieri, Synthesizers – Salvatore Miele, Live mixing- Francesco Canavese

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Massive Sonic Works:

/ˈmæsɪv ˈsɒnɪk wɜːrks/

Large-scale performances using collective participation to create powerful sound masses.

Yuval Avital’s “Massive Sonic Works” or “Opera di Massa Sonora” involves the creation of large-scale performances that utilize collective participation to craft a unique sound experience. These works focus on forming powerful sound masses through the collaboration of numerous performers, exploring new possibilities through sound rituals. The compositions often include graphic visual elements, written music, and easy-to-read instructions to allow interpretation by individuals without prior musical experience. This approach, sometimes involving hundreds of participants, aims to create what can be described as “crowd music.”

Some key works in Avital’s repertoire include:

– GARON (2012): An opera for 45 bass tubas do, percussions, and a crowd of performers.

– KARAGATAN (2013): A composition for 100 gongs and bamboo in the Philippines.

– REKA (2014): Commissioned by the Warsaw Autumn Festival and co-produced by the MiTo festival in Milan, involving traditional singers from unique cultures such as Tibetan, Zulu, Sardinian, Mongolian, and Samarkand traditions.

One of Avital’s significant compositions is MISE EN ABÎME, a milestone work that marks the beginning of his “Massive Sonic Works” series. Premiered in 2011, this composition involves a large ensemble of 100-200 non-musician vocalists, accordions, bass tubas, soprano, bass clarinet, percussions, didgeridoo, and conductors directing the performance in an immersive setup.

Another notable work is URLA, an immersive sonic experience with over 300 performers, showcasing diverse musical traditions in Matera, Italy. This piece combines traditional elements with modern instrumentation, theatrical actions, and innovative technological approaches, reflecting Yuval Avital’s interdisciplinary and transcultural artistic vision.

Yuval Avital’s creations blend complexity, cultural diversity, and technological innovation to create immersive and participatory sonic experiences that push the boundaries of traditional music composition and performance.