Concerto Barry Truax | JUN 2025
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Concerto de Barry TruaxOctophonic Works by Barry Truax07 de Junho de 2025 | 12h00Lisboa Incomum
O Lisboa Incomum tem o prazer de receber o compositor Barry Truax para um concerto dedicado às suas obras octofónicas, que poderão ser escutadas através de um dos sistemas imersivos em forma de cúpula do nosso espaço.
Programa
The Bells Of SalzburgEarth & SteelThe Wings of Nike-------------------------------------------What The Waters Told MeHow The Winds Caressed MeWhen The Earth Mourned For Me*
*estreia mundial
Entrada livre, mediante reserva por e-mail para lisboaincomum@gmail.com
Notas de programa / Program Notes
The Bells Of Salzburg (2018) (16:57)for eight digital soundtracks
This soundscape composition follows the bells in Salzburg over the course of a day, from 7 am to midnight, including the Palm Sunday celebrations where the congregation processes around the cathedral square. On special occasions such as this, the largest cathedral bell, Salvator Mundi, is rung. For many listeners the experience of this work will seem like a memory of such a day.
Earth & Steel (2013) (11:00)for eight digital soundtracks
Earth & Steel takes the listener back to a time a century ago when large steel ships were built in enclosed slips, and rich metallic resonances rang out. These larger than life sounds reflected the sheer volume of the ships themselves that dwarfed those who were building them. However, just as the piece progresses and ends, these soundscapes now have become increasingly distant memories, only to be re- imagined in museums.
The Wings of Nike (1987) (12:30)with digital images by Theo Goldberg
This is a collaborative work between two composers, Theo Goldberg who created the images with the aid of Vax and Amiga computers, and Barry Truax who created the music with real-time granular synthesis. The work is in three sections. The visuals are based on a "sampled" visual image of the famous statue, the Winged Victory (or Nike) of Samothrace, and the music is mainly based on two sampled phonemes of vocal sound, one male, the other female.
What The Waters Told Me (2022) (11:37)How The Winds Caressed Me (2023) (12:20)When The Earth Mourned For Me (2024) (12:20) * premiere
This trilogy of recent pieces attempts to blur the distinction between natural and human sounds through hybridizing material from both sources, based on three of the primary elements – water, wind and earth. In the current ecological crisis, we may come to understand ourselves as an integral part of our environment that we need to respect.What The Waters Told Me: If we listen carefully to flowing water in all of its varied forms, we may begin to hear voices and ascribe human emotions to them. The voices may be argumentative, even angry, as at the start of our journey, but suddenly they become hushed as we enter a large cavern. A mysterious voice seems to give us commands as we await the next stage, while ethereal voices guide us along. The commands become more insistent until the waters burst forth with transcendent song in a celebration of water and life.How The Winds Caressed Me: The wind is a restless and devious presence in our lives, revealing itself as an invisible, tactile experience, and aurally only in what it is interacting with. It can pretend to speak to us with a voice when it passes through a narrow opening, or it can even resemble a musician when it activates a string – the Aeolian effect – or resonates a tube with its breath. And its moods can range from being a relentless, stormy foe, to the gentlest of caresses. This piece propels us through its repertoire, eventually enveloping us in an ocean of transcendence.When The Earth Mourned For Me: With each passing day, we see evidence of our deteriorating environment and that evokes in us a personal and collective grief. We mourn for the earth, but if we listen to its cries, does it also mourn for us, the instigators of its demise? This piece invites us to listen to the voices of the earth that may emerge even from what we have extracted from it. The journey proceeds in four overlapping sections: Choir, Lament, Anguish, and Threnody.
Biografia / Biographical noteBarry Truax is a Professor Emeritus in the School of Communication at Simon Fraser University. He worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication, that deals with sound and technology, now in its 2 nd edition. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France. Truax’s multi-channel soundscape compositions are frequently featured in concerts and festivals around the world. In 2015-16 he was the Edgard Varèse Guest Professor at the Technical University in Berlin. As a teacher at SFU, he was given the University’s Award for Teaching Excellence in 1999, and an Honorary Doctor of Fine Arts in 2025.Website: ww.sfu.ca/~truax
O Lisboa Incomum tem o prazer de receber o compositor Barry Truax para um concerto dedicado às suas obras octofónicas, que poderão ser escutadas através de um dos sistemas imersivos em forma de cúpula do nosso espaço.
Programa
The Bells Of Salzburg
Earth & Steel
The Wings of Nike
-------------------------------------------
What The Waters Told Me
How The Winds Caressed Me
When The Earth Mourned For Me*
*estreia mundial
Entrada livre, mediante reserva por e-mail para lisboaincomum@gmail.com
Notas de programa / Program Notes
The Bells Of Salzburg (2018) (16:57)
for eight digital soundtracks
This soundscape composition follows the bells in Salzburg over the course of a day, from 7 am to midnight, including the Palm Sunday celebrations where the congregation processes around the cathedral square. On special occasions such as this, the largest cathedral bell, Salvator Mundi, is rung. For many listeners the experience of this work will seem like a memory of such a day.
Earth & Steel (2013) (11:00)
for eight digital soundtracks
Earth & Steel takes the listener back to a time a century ago when large steel ships were built in enclosed slips, and rich metallic resonances rang out. These larger than life sounds reflected the sheer volume of the ships themselves that dwarfed those who were building them. However, just as the piece progresses and ends, these soundscapes now have become increasingly distant memories, only to be re- imagined in museums.
The Wings of Nike (1987) (12:30)
with digital images by Theo Goldberg
This is a collaborative work between two composers, Theo Goldberg who created the images with the aid of Vax and Amiga computers, and Barry Truax who created the music with real-time granular synthesis. The work is in three sections. The visuals are based on a "sampled" visual image of the famous statue, the Winged Victory (or Nike) of Samothrace, and the music is mainly based on two sampled phonemes of vocal sound, one male, the other female.
What The Waters Told Me (2022) (11:37)
How The Winds Caressed Me (2023) (12:20)
When The Earth Mourned For Me (2024) (12:20) * premiere
This trilogy of recent pieces attempts to blur the distinction between natural and human sounds through hybridizing material from both sources, based on three of the primary elements – water, wind and earth. In the current ecological crisis, we may come to understand ourselves as an integral part of our environment that we need to respect.
What The Waters Told Me: If we listen carefully to flowing water in all of its varied forms, we may begin to hear voices and ascribe human emotions to them. The voices may be argumentative, even angry, as at the start of our journey, but suddenly they become hushed as we enter a large cavern. A mysterious voice seems to give us commands as we await the next stage, while ethereal voices guide us along. The commands become more insistent until the waters burst forth with transcendent song in a celebration of water and life.
How The Winds Caressed Me: The wind is a restless and devious presence in our lives, revealing itself as an invisible, tactile experience, and aurally only in what it is interacting with. It can pretend to speak to us with a voice when it passes through a narrow opening, or it can even resemble a musician when it activates a string – the Aeolian effect – or resonates a tube with its breath. And its moods can range from being a relentless, stormy foe, to the gentlest of caresses. This piece propels us through its repertoire, eventually enveloping us in an ocean of transcendence.
When The Earth Mourned For Me: With each passing day, we see evidence of our deteriorating environment and that evokes in us a personal and collective grief. We mourn for the earth, but if we listen to its cries, does it also mourn for us, the instigators of its demise? This piece invites us to listen to the voices of the earth that may emerge even from what we have extracted from it. The journey proceeds in four overlapping sections: Choir, Lament, Anguish, and Threnody.
Biografia / Biographical note
Barry Truax is a Professor Emeritus in the School of Communication at Simon Fraser University. He worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication, that deals with sound and technology, now in its 2 nd edition. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France. Truax’s multi-channel soundscape compositions are frequently featured in concerts and festivals around the world. In 2015-16 he was the Edgard Varèse Guest Professor at the Technical University in Berlin. As a teacher at SFU, he was given the University’s Award for Teaching Excellence in 1999, and an Honorary Doctor of Fine Arts in 2025.
Website: ww.sfu.ca/~truax
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