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iwas17:christophdeboeck [2017/11/06 13:18] givanbelaiwas17:christophdeboeck [2017/11/06 14:07] (current) givanbela
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-===== The Old As Unfamiliar: Beethoven Packed In Steel, and Processed By christoph De Boeck. =====+===== The Old As Unfamiliar: Beethoven Packed In Steel, and Processed By Christoph De Boeck. =====
  
-{{  :iwas17_4-xophbeethoven1.jpg?500|}} 
-{{  :iwas17_4-XophBeethoven2.jpg?500|}} 
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-//Eindhoven (NL), Allsaints, Allsouls days 2017. Philharmonie Zuidnederland is playing Beethoven's 4th Symphony, directed by Kristiina Polska. As part of their 'crossover' series they invited the artists Chantalla Pleiter and christoph De Boeck, both associated with the experimental company Crew. Recently more ensembles of older and classical music seem to radically embrace technological experiments. Bridging the gap towards more diverse audiences, they want to provide new experiences for more diverse audiences with the aid of technological tools, installations, virtual and real interfaces. All these experiments sound like blasphemy in the eyes and ears of a melomaniac purist, but sometimes produce interesting new contemporary works, often interacting with the music or the musicians, the audience and the artists.// +//Eindhoven (NL), Allsaints, Allsouls days 2017. Philharmonie Zuidnederland is playing Beethoven's 4th Symphony, directed by Kristiina Polska. As part of their 'crossover' series they invited the artists Chantalla Pleiter and Christoph De Boeck, both associated with the experimental company Crew. Recently more ensembles of older and classical music seem to radically embrace technological experiments. Bridging the gap towards more diverse audiences, they want to provide new experiences for more diverse audiences with the aid of technological tools, installations, virtual and real interfaces. All these experiments sound like blasphemy in the eyes and ears of a melomaniac purist, but sometimes produce interesting new contemporary works, often interacting with the music or the musicians, the audience and the artists.// 
  
 ==== 1. A commissioned piece, a new idea. ==== ==== 1. A commissioned piece, a new idea. ====
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 We did this in 2015 in Bozar Brussels with the ensemble BOHO Strings led by David Ramael, who played the music of Vivaldi, Mahler, Pärt and others. The challenge for me now in 2017 was to process electronically and in real-time a Beethoven piece, which is another deal altogether, especially for the wide dynamics in the 4th Symphony. We did this in 2015 in Bozar Brussels with the ensemble BOHO Strings led by David Ramael, who played the music of Vivaldi, Mahler, Pärt and others. The challenge for me now in 2017 was to process electronically and in real-time a Beethoven piece, which is another deal altogether, especially for the wide dynamics in the 4th Symphony.
 + 
 +{{iwas17:iwas17_4-xophbeethoven_sample1.mp3|An excerpt}}
 +
  
 This production aims at delivering a multi-focal listening experience. We want the audience to engage into different listening modes. We built 4 different concert environments and the audience is split up in 3 groups who rotate along the different experiences. After each symphony movement spectators travel in between the differen environments. This production aims at delivering a multi-focal listening experience. We want the audience to engage into different listening modes. We built 4 different concert environments and the audience is split up in 3 groups who rotate along the different experiences. After each symphony movement spectators travel in between the differen environments.
 +
 +{{  iwas17:iwas17_4-xophbeethoven1.jpg?500|}}
 +{{  iwas17:iwas17_4-xophbeethoven2.jpg?500|}}
 +{{  iwas17:iwas17_4-xophbeethoven3.jpg?500|}}
 +{{  iwas17:iwas17_4-xophbeethoven5.jpg?500|}}
  
 First, there is a stage built around the position of the conductor. People can lie down around her and feel through the floor how her balance shifts and how she uses her physical energy to conduct the orchestra. Also, the position amidst playing musicians (Viennese orchestra set-up in a big U) provides an excellent natural immersive listening mode. First, there is a stage built around the position of the conductor. People can lie down around her and feel through the floor how her balance shifts and how she uses her physical energy to conduct the orchestra. Also, the position amidst playing musicians (Viennese orchestra set-up in a big U) provides an excellent natural immersive listening mode.
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 //I WAS 17 / #04 Interesting works, approaches, strategies for the future, 2017.// \\ //I WAS 17 / #04 Interesting works, approaches, strategies for the future, 2017.// \\
-**The Old As Unfamiliar: Beethoven Packed In Steel, and Processed By christoph De Boeck.** \\+**The Old As Unfamiliar: Beethoven Packed In Steel, and Processed By Christoph De Boeck.** \\
  
 **I.** **I.**
  
-Eindhoven (NL), Allsaints, Allsouls days 2017. Philharmonie Zuidnederland is playing Beethoven's 4th Symphony, directed by Kristiina Polska. As part of their 'crossover' series they invited the artists Chantalla Pleiter and christoph De Boeck, both associated with the experimental company Crew. Recently more ensembles of older and classical music seem to radically embrace technological experiments. Bridging the gap towards more diverse audiences, they want to provide new experiences for more diverse audiences with the aid of technological tools, installations, virtual and real interfaces. All these experiments sound like blasphemy in the eyes and ears of a melomaniac purist, but sometimes produce interesting new contemporary works, often interacting with the music or the musicians, the audience and the artists. +Eindhoven (NL), Allsaints, Allsouls days 2017. Philharmonie Zuidnederland is playing Beethoven's 4th Symphony, directed by Kristiina Polska. As part of their 'crossover' series they invited the artists Chantalla Pleiter and Christoph De Boeck, both associated with the experimental company Crew. Recently more ensembles of older and classical music seem to radically embrace technological experiments. Bridging the gap towards more diverse audiences, they want to provide new experiences for more diverse audiences with the aid of technological tools, installations, virtual and real interfaces. All these experiments sound like blasphemy in the eyes and ears of a melomaniac purist, but sometimes produce interesting new contemporary works, often interacting with the music or the musicians, the audience and the artists. 
  
-christoph de Boeck has a long term fascination for the acoustic and material properties of steel, that is for sure. I remember meeting him 10 years ago in a workshop on generative and interactive music, and since then started to attend some of his installations and performances. christoph is an artist of all trades, collaborating with performers and installation artists, directing the experimental Overtoon studios also open for other sound artists. He is working with very different themes, let's say from bio art to high tech sound art and everything that fits in between or not. Some years ago, I remember that Overtoon was moving from the 12th floor of an abandoned hospital in the centre of Brussels. A large space served as a storage for the multiple tons of steel plates by christoph. Since then I developed a secret interest in the aspect of steel in the oeuvre by artist De Boeck. +Christoph de Boeck has a long term fascination for the acoustic and material properties of steel, that is for sure. I remember meeting him 10 years ago in a workshop on generative and interactive music, and since then started to attend some of his installations and performances. Christoph is an artist of all trades, collaborating with performers and installation artists, directing the experimental Overtoon studios also open for other sound artists. He is working with very different themes, let's say from bio art to high tech sound art and everything that fits in between or not. Some years ago, I remember that Overtoon was moving from the 12th floor of an abandoned hospital in the centre of Brussels. A large space served as a storage for the multiple tons of steel plates by Christoph. Since then I developed a secret interest in the aspect of steel in the oeuvre by artist De Boeck. 
  
 **W.**  **W.** 
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 **S.**  **S.** 
  
-As a media and sound artist, christoph is working as close as possible with the circumstances and materials themselves. But how did he work this time, with classical music and an orchestra? +As a media and sound artist, Christoph is working as close as possible with the circumstances and materials themselves. But how did he work this time, with classical music and an orchestra? 
 "The challenge for me was to process electronically and in real-time a Beethoven piece, which is another deal altogether, especially for the wide dynamics in the 4th Symphony. This time, microphones were capturing the different instrument groups and an omnidirectional mic captated the conductor’s position. On some tracks I processed the stereo audio of the total sum, on other tracks only wind instruments or strings. For preparation it took several weeks of discussion, preparing technical set-ups and cabling, testing impact and resonance for beds and steel plates, preparing effect tracks, testing them on an older recording of Beethoven." "The challenge for me was to process electronically and in real-time a Beethoven piece, which is another deal altogether, especially for the wide dynamics in the 4th Symphony. This time, microphones were capturing the different instrument groups and an omnidirectional mic captated the conductor’s position. On some tracks I processed the stereo audio of the total sum, on other tracks only wind instruments or strings. For preparation it took several weeks of discussion, preparing technical set-ups and cabling, testing impact and resonance for beds and steel plates, preparing effect tracks, testing them on an older recording of Beethoven."
  
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 **17. ** **17. **
  
-In-depth descriptions of the works by christoph De Boeck can be found at http://www.christophdeboeck.com/ and http://overtoon.org while more pictures and information about the concerts are at https://www.philharmoniezuidnederland.nl/voorstellingen/22/Dirigente_Kristiina_Poska_Concept_en_techniek_installatie_Crew/i_Classics_Music_Technology/+In-depth descriptions of the works by Christoph De Boeck can be found at http://www.christophdeboeck.com/ and http://overtoon.org while more pictures and information about the concerts are at https://www.philharmoniezuidnederland.nl/voorstellingen/22/Dirigente_Kristiina_Poska_Concept_en_techniek_installatie_Crew/i_Classics_Music_Technology/ and specifically http://christophdeboeck.com/work/beethoven-below-the-surface
  
 An excerpt of his work for Beethoven's Symphony number 4, and the full interview, uncut, raw, noisy can be seen and heard at https://oslepenikoncem.multiplace.org/doku.php?id=iwas17, with or without the author or artist's consent, but all for the good cause.  An excerpt of his work for Beethoven's Symphony number 4, and the full interview, uncut, raw, noisy can be seen and heard at https://oslepenikoncem.multiplace.org/doku.php?id=iwas17, with or without the author or artist's consent, but all for the good cause. 
  
 +{{iwas17:iwas17_4-xophbeethovenvolkskrant.jpg|Press Article}}
  
iwas17/christophdeboeck.1509970733.txt.gz · Last modified: 2017/11/06 13:18 by givanbela