Bienale Koper
5 concerto: .abeceda [ensemble per la nuova musica]
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Data dell'evento: Dicembre 2, 2022

Ora: 7:00 pm

Luogo: Sala concerti della Scuola di musica Capodistria

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Concert in collaboration with .abeceda
Production .abeceda



Meta means to go beyond the meaning of the basic word. Prestigious biophysical laboratories around the world have made surprising discoveries about unusual phenomena related to water, which are not published because they cannot provide empirical evidence. Water therefore evades the empiricism of inductive science and thus simply exhibits its unusual properties.


PROGRAM:

Opus I. _ composition for .meta [Dré A. Hočevar, 2020/2021]



.abeceda [ensemble for new music] rings together young professional musicians who perform contemporary music. It is also a platform where young composers have the opportunity to create, test and present new musical works.
Oskar Longyka, violin, voice
Kacper Hubicki, violin, voice
Domen Kužnar, viola, voice
Gašper Livk, basa, voice
Neža Zupanc, flute, voice
Cèlia Tort Pujol, oboe, voice
Brina Kren, saxophone, voice
Pia Reš, saxophone, voice
Jan Kopač, guitar, voice
Andraž Malgaj, accordion, voice
Lovorka Nemeš Dular, piano, voice




The work Opus I. _ composition per .meta must be understood in the context of the composer's research and compositional practice, "a dynamic system of training, application and analysis of the cognitive apparatus". It is a sort of platform within which the composition develops, but at the same time, in a feedback loop, also for the way we think about music (creating it, recreating it and listening to it). The model developed by Hočevar is, on the one hand, complex and prescriptive (he speaks of a formula, which obviously immediately gives rise to associations linked to Stockhausen's systematization of all the compositional rules in a single formula, with which he tried to go beyond the crystalline structures of highly developed serialism), second instead, open (the basic provisions are that the basic model, called .meta, must last one second, and the individual composition must last three minutes), as it allows the performer above all "The formation of the rudiments for generative processes." Opus I. is conceived as a work in progress, which is currently in the first of five phases, despite the significant title, which leans on the surviving notation of musical works, while also emphasizing its "initial" phase, and both l both the listener and the performer are forced to considerably broaden the ontological idea of ​​what this composition is. This is precisely why Hočevar does not reveal his formulas or his entire methodology too accurately, as one of the key guidelines of the project / research is to go beyond any predetermined and inculcated pattern. The end result should be that the contractor is able to gradually abandon the given models and build their own constants and variables. Aaron Cassidy.
Knowing the structure of the work would certainly trigger some preconceived expectations in us, but it turns out that our listening will be very different if we form impressions from the current impulses on the fly, without comparing them with the horizon of waiting. The same model, which could be understood as the desire to open pages that are always new, unexplored, and in which listening is transformed into a sort of analysis, for which we create our own methodology every time, is at work both in recreating the music than in listening to it. The uniqueness of "composition" therefore lies in the fact that composition is also analysis at the same time and, obviously, vice versa. Therefore, Opus I. can be heard as a composition or "read" as a result of Hočevar's research. Art-research is born on the shoulders of musicians, who in such a project are often also creators, listeners and analysts. Hočevar built his system on the "premises of the formation of the meta-apparatus, which open up possibilities for the performer to develop original generative tools". It is for this reason that there is a weekly comparison with the composition, which goes through several documented phases (practice-practice, practice-play, play-practice, play-play). These allow the transition between creation and analysis, playback and listening, performance and consolidation, rehearsal and concert. Despite the patterns captured in the tabular grid system, many things remain quite mysterious in Hočevar's concept. His desire is to give the concept as broad a framework as possible and therefore as little contextual information as possible. But this too turns out to be a deliberate psychological move: the listener, like the musician, is forced to turn the page, forget their listening habits and expectations, and thus create a new one in the Opus IO "acceptance" process. This means that the content of Opus I is no longer musical affects and structures, but more and more cognitive processes and new psychological schemes. Hočevar no longer composes "operas", but mainly his interpreters. (Author of the text: Gregor Pompe)


Dré A. Hočevar (Ljubljana, 1987) is a Slovenian composer and researcher. He currently lives in Amsterdam, the Netherlands, and is pursuing a PhD in composition at the CeReNeM department, University of Huddersfield, England, UK. The central theme of his research and compositional practice is .meta [dynamic systems of cognitive apparatus formation, application and analysis]. Dré A. Hočevar is the artistic director and founder of .abeceda, the Institute for Research in Art, Critical Thought and Philosophy. He regularly lectures, conducts workshops and seminars in the field of composition, theory and research. His mentors include Steve Lehman, Peter Ablinger, Joe Morris, Michael Carvin, Alexander J. Harker, and Aaron Cassidy.