Three dances (AAA)/ Trije plesi (AAA)
Short description of the work of art: The composition commissioned by the ensemble MD7 artistic director and composer Pavel Mihelčič represents my imaginary experiencing sounds of the Old World. Electroacoustical sound and actual sound are some kind of conglomerate revealing in the present by descendants of former natural nations and affecting the sound image of our world. Following the vital aspiration for harmony, musical instruments of the chamber ensemble deal with archetypal alluvium as well as its seemingly different geographic evolution. They try to match in three stylized dances emphasising similarities among them – the coexistence of Oneness. Three dances, three continents. Africa, Asia, America. On account of the level of difficulty and length of the composition, only the Introduction and the First dance (Africa) were performed at the concert. I wish to express my gratitude to Dr. Svanibor Pettan, musical ethnologist, for his kind advice and help at the selection of the sound tracks. The composition is dedicated to my spiritual and life companion Dr. Albinca Pesek.
Skladba, nastala po naročilu umetniškega vodje ansambla MD7, skladatelja Pavla Mihelčiča, je moje imaginarno občutenje zvokov starega sveta. Elektroakustični in konkretni zvok sta kot nekakšen bazalni konglomerat, kateri se, preko potomcev donedavnih naravnih ljudstev, razodeva v sedanjosti ter vpliva na zvočno podobo našega sveta. Glasbeni instrumenti komornega ansambla se v toliko potrebni želji po harmoniji spoprijemajo z arhetipsko naplavino, kot tudi njeno, navidezno različno, geografsko evolucijo ter se poskušajo ujeti v treh stiliziranih plesih, ki poudarjajo podobnost med njimi – sožitje Enosti. Trije plesi, trije kontinenti. Afrika, Azija in Amerika. Na koncertu festivala UNUCUM je dne 09. oktobra bil predstavljen samo uvod in prvi ples (Afrika). Vzrok za takšno odločitev je bila zahtevnost materije in želeno končno trajanje skladbe. Zahvaljujem se etnomuzikologu dr. Svanibotu Pettanu za prijazne nasvete in pomoč pri izboru zvočnih primerov. Delo posvečam svoji duhovni in življenjski sopotnici dr. Albinci Pesek.
Deep Blue / Globina modrine
Short description of the work of art: DEEP BLUE (2011) is a piece for electric guitar, classical orchestra or virtual musical instruments and recorded Indian violin, plus an experimental video called KOLAM. There was a request to prepare a multimedia work, which was shown for the first time in May 2011 at the international Festival Choregie (aka Choregie, Maribor, Slovenija.) This work is a gift to my son Filip Šijanec, for his successful graduation from Graz Academy for Jazz.
Multimedia work consists of three scenes: Deep Blue, Wind from Tibet and Dance. In the composition and in the video elements are interwoven from both big cultures: the East and the West.
Deep Blue was created in the author’s private studio Lavrica in May 2011.
Kratek opis dela: GLOBINA MODRINE (2011) za električno kitaro, komorni orkester, virtualna glasbila in posneto indijsko violino ter eksperimentalni video KOLAM. Multimedijsko delo, ki je nadaljevanje koncertne izvedbe je nastalo po uspešnem zaključku šolanja mojega sina Filip Šijanca na Akademiji za jazz v Gracu. V tej drugi verziji je komorni orkester kloniran, solist na električni kitari je prav tako Filip Šijanec, indijsko violino je posnela dr. Lasanthi Manaranjanie Kalinga Dona, virtualna glasbila pa skladatelj sam. Delo vsebuje tri scene: Globina modrine, Veter s Tibeta in Ples. V skladbi in v videu se prepletajo elementi obeh velikih kultur – vzhodne in zahodne.
Posnetek je nastal v avtorjevem postprodukcijskem studiu v januarju 2011.
Time of Aliquot Parts/ Čas alikvotnih delcev
Short description of the work of art: The creating of the music for the film TIME OF ALIQUOT PARTS by Miha Vipotnik coincided with my previous compositional and developmental path, where there is a strongly expressed new feeling of the sounds of the old world. Combining electroacoustic and concrete sound creates a kind of base conglomerate which, through the descendants of until recently natural peoples, is revealed in the present and influences the sound image of our world. Recognising the sound auras of museum exhibits from “apparently” different geographical ambiences and their archetypal alluvia was a particular challenge, whilst they needed to be translated into an abstract musical language. My expressive focus was on man the individual in all his material and spiritual presence in the external and, above all, internal world. The life of the individual, the nation, the civilisation; the life of I, we and they are the world.
Kratek opis dela: Ustvarjanje glasbe za film ČAS ALIKVOTNIH DELCEV avtorja Mihe Vipotnika je sovpadalo z mojo prejšnjo skladbo in potjo v razvoju, kjer je zelo izraženo moje novo občutenje zvokov starega sveta. Združevanje elektroakustičnega in konkretnega zvoka sta nekakšen bazalni konglomerat, ki se preko potomcev donedavnih naravnih ljudstev razodeva v sedanjosti ter vpliva na zvočno podobo našega sveta. Prepoznavanje zvokovne aure muzejskih eksponatov iz “navidezno” različnih geografskih ambientov in njihove arhetipske naplavine je bil poseben izziv, kajti bilo jih je treba prevesti v abstrakten glasbeni jezik. V izraznem fokusu sem imel človeka posameznika v vsej njegovi materialni in duhovni navzočnosti v zunanjem in predvsem notranjem svetu.
SOLE interactilve multimedia project/ SOLE – interaktivni multimedijski projekt
Short description of the work of art: Multimedia project belongs to the fourth phase of the concept which has be en developed from 1983 by its author, the composer
Marjan Šijanec. The concept carrying the title Music of Cosmic Models was originally designed as electroacustic, electronic music, based on 12 models of creative principle unified by the methods of construction and style. ln comparison with classical method of artistic music creating which contains all elements of the music material (from solo parts to the secre), the author already at the beginning introduced computer programme with computer as a basic means. In this way the original computer programme replaced the score while the record was made by a modern instrument – electronic studio. With the development of multimedia the challenge grew bigger. The author therefore decided at a very early stage not to de viate from the twelve phases of the concept but to expand the idea to other possible levels of human perception of the artistic creation such as pictures, poetry etc. By this he tried to obtain structures which would communicate in united, interective way with seemingly heterogenous elements.
Kratek opis dela: Multimedijski projekt spada v četrto fazo koncepta, ki ga avtor, skladatelj Marjan Šijanec razvija od leta 1983. Koncept, ki nosi skupen naziv GLASBA KOZMiČNIH MODELOV (Music of Cosmic Models), je bil v prvotni obliki zamišljen kot elektroakustična, elektronska glasba, pogojena z dvanajstimi modeli ustvarjalnega principa, enotnega po metodi gradnje in stila. V nasprotju s klasično metodo ustvarjanja umetniške glasbe, z vsemi elementi notnega
zapisa (od solističnih partov do partiture), je avtor že v začetku uvedel računalniški program in računalnik kot osnovno sredstvo. Tako je originalen računalniški program nadomestil partituro in zapis kar je dejansko izvedel sodoben instrument – elektronski studio. Z razvojem multimedije je izziv postajal vse večji, tako da se je avtor že zelo zgodaj odločil, da sicer ne bo odstopal od dvanajstih faz koncepta, temveč da bo idejo razširil na druge morebitne nivoje človekove percepcije umetniške kreacije, na sliko, poezijo in dr. ter tako poskusil dobiti strukture, ki bi komunicirale na enoten, interaktiven način, z navidezno heterogenimi elementi.
VENUS ORCHESTRA
GAYATRI MANTRA with Carmina Slovenica
GAYATRI MANTRA with Túumben Paax, Female Vocal Sextet, Mexico