If anyone's interested EAR are holding a concert in the Project Arets centre, Dublin on Tuesday night. I will be using PD in my piece 'oneak' for Recorder and Live Electronics if anyone's interested! Hope to see ya there!

EAR ElectroAcoustic Revue 11/06 Concert Programme

Victor Lazzarini The Trane Thing, for tenor saxophone and computer(custom built software) Barbara Dunne Brain on a Train, for three voices Rory Walsh onaek, for recorder and computer(PD) Ian Brabazon Fathom, for video Riet Bobbaers Strings Entwined, for guitar and tape Ian Brabazon Intrada, for dancer and computer(MAX/MSP)

INTERVAL

Riet Bobbaers Cantiña, for voice, tape and computer(AudioMulch) Rory Walsh piece.orc, for cello and computer(csound) John Nugent The PGP, for tape Victor Lazzarini Trois Poémes de Paul Éluard, for voice and tape David Stalling Traffic, for tenor saxophone, french horn, cello, bass and tape

This concert shines light on a number of different perspectives of contemporary music. From the cult of intensity in John Coltrane’s music, to which The Trane Thing is an hommage, to the use of concrète sources in Traffic, a tribute, perhaps, to the soundscape of our capital city. It is of course one of the many attributes of modern art to try and connect us with what happens (or has happened) around us. Ian Brabazon’s Fathom, tries to tell a tale that is too familiar to many of us. In his own words, “in the floods of 2000, the machine lay half a fathom under the water”. Storytelling is also another aspect of the pieces presented in this concert. Stories of the workplace, perhaps, in Cantiña (The Refectory), where a slightly paranoid employee cannot get to grips with the sonic reality around him. Stories of a journey, an internal one, in Barbara Dunne’s Brain on a Train. Stories to be enacted, mini-dramas, written by the surrealist poet Paul Éluard, in Trois Poémes. Above all, this concert is about sound and the enjoyment of its nuances and textures. Something that can be appreciated in tape pieces such as The PGP, with its layers of synthesized sound, and piece.orc, where clouds of computer-processed envelope velvet-like tunes from a solitary cello. Other instrument-machine duets such as that one are also the main focus of two other pieces, onik and Strings Entwined. Sometimes competitive, sometimes collaborative, the relationship between instrumental and electronic sound is always musically compelling, when carefully set up.

EAR is Paula Phelan: recorder Cyrille Laurens: tenor saxophone Cathal OMadagain: french horn, voice Barbara Dunne: voice David Stalling: voice Stefan Gaelens: guitar Lioba Petrie: violoncello Dan Bodwell: double bass Meadhbh McManus, dancer Rory Walsh, Ian Brabazon, Victor Lazzarini: live electronics, sound John Nugent, Michael Vallely: stage crew David Stalling: lighting design Barbara Dunne: executive producer

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