Sonic Constructions

Thomas Ciufo / Curtis Bahn: Sonic Constructions (PFMCD102)

Jeff Kaiser

[playlist ids="946"]
Sonic Constructions – an improvisational electroacoustic performance project
Thomas Ciufo and Curtis Bahn with special guests Steve Gorn and Jane Rigler

1) Sonic Constructions 22:54
Curtis Bahn – Electric Sitar, Dilruba and Interactive Electronics
Thomas Ciufo – Extended Electric Guitar, Prepared Piano, Percussion and Interactive Electronics

2) Ujjayi 12:11
Steve Gorn – Bansuri Bamboo Flutes
Jane Rigler – C Flute, Bass Flute and Piccolo
Curtis Bahn / Thomas Ciufo – Live Processing

3) Lajawab 38:06
Steve Gorn – Bansuri Bamboo Flutes and Clarinet
Curtis Bahn – Electric Sitar and Interactive Electronics
Thomas Ciufo – Extended Electric Guitar, Flutes, Percussion and Interactive Electronics

Sonic Constructions – edited excerpts from a live performance
Ujjayi and Lajawab – unedited complete recordings from a live performance

Recorded and Produced by Thomas Ciufo
Graphic Design by Ted Killian
Photos by Thomas Ciufo

Sonic Constructions is an electroacoustic ensemble consisting of Thomas Ciufo on extended electric guitar, flutes, percussion, prepared piano and live electronics and Curtis Bahn on electric sitar, dilruba and interactive electronics. For this live performance CD project, the core duo was joined by Steve Gorn on bansuri bamboo flutes and Jane Rigler on C flute, bass flute and piccolo. With their music and sonic gestures, the musicians are able to transform the live sounds and field recordings into immersive sonic stories. This creates a constant, limitless reshaping of materials in a kind of “infinite play” of regenerative music that is at once transformative, delicate, intimate and innovative. This ensemble treats electronic music as chamber performance because there is a constant interactive musical connection between the performers, the space, the sounds, and the audience.

This improvisational soundscape combines live performance, raga, computer extended instruments/gestural controllers, live signal processing, and field recordings. Composer-improvisers Thomas Ciufo and Curtis Bahn design, build, and perform on computer extended instruments and simultaneously process the sounds of the other performers. This project has developed around a gestural and sonic language that explores the expressive capabilities of a range of custom build, hybrid acoustic / electronic instruments. Utilizing a variety of physical interfaces and signal processing techniques, these constructed / composed instruments extend acoustic sound sources and field recordings through real-time computer processing and sonic transformation. Custom instruments developed by Bahn and Ciufo include the eSitar, eDilruba, the eighth nerve hybrid electric guitar, as well as prepared piano and a collection of flutes and percussive objects. The duo uses their extensive sound transformation capabilities to process and extend the flute performance by collaborators Steve Gorn and Jane Rigler.

pfMENTUM CD102
PFMCD102

Lajawab (Excerpt)

Jeff Kaiser

“Lajawab (Excerpt)” from Sonic Constructions by Thomas Ciufo and Curtis Bahn.

master

Jeff Kaiser

Steuart Liebig / MINIM: Quicksilver (PFMCD023)

Jeff Kaiser 1 Comment

[playlist ids="405,407"]
Steuart Liebig / MINIM

Quicksilver

Ellen Burr: Flute, Piccolo and Alto Flute

Jeff Gauthier: Electric 4 and 5-String Violins

Jeanette Kangas: Drumset, Percussion and Vibraphone

Steuart Liebig: C, Eb and Prepared Contrabass guitars

1-23: Mosaic – (51:38)
24: Chrysanthemum – (15:37)
25: A Single Rosehip Bursts in Praise – (12:21

Copyright 2004 Steuart Liebig/Sisong Music (ASCAP)

Recorded April 2002, by Wayne Peet
Mixed June and October 2003, and March and July 2004
by Wayne Peet and Steuart Liebig; all at Newzone Studios, Mar Vista, California

Jeff Gauthier plays 4- and 5-string electric violins made by Rich Barbera, and a bow made by some dead French guy.

Jeanette Kangas (formerly known as Jeanette Wrate) plays
Paiste cymbals exclusively.

Steuart Liebig plays Fodera Basses, uses the Raven Labs PMB-1,
and uses Thomastik-Infeld Jazz Flats strings (C basses) and Fodera roundwound strings (Eb and C basses).

Live Band and dancer (Belinda Cheng and John Dowell) photos by Anthony Cheng. Band rehearsal photos by Belinda Cheng.

Cover photos/montages by Steuart Liebig.
Thanks to David Poelman for digital assistance
Layout by Steuart Liebig and Jeff Kaiser.

Thanks Leslie, Anya and Aron.

“Mosaic” is a piece made up of 23 miniatures based on haiku. “Chrysanthemum” is a single movement of 14 parts. “A Single Rosehip Bursts in Praise” was written for a collaboration with choreographer Belinda Cheng for the Auricle Dance Company and premiered on 17 November 2002.

NOTES:

Mosaic: 23 Miniatures After Haiku

The idea for a piece comprised of a group of 23 miniatures for small improvising ensemble has been one that I had kept in the back of my mind and in small sketchbooks for some four years. I envisioned an ensemble in which I would be able to utilize some of the “prepared bass” and less “bass-like” techniques that I had been using for a number of years. Additionally, I wanted to write for some less-usual (for me) techniques for both tuned and untuned percussion and a standard melody instrument. Finally, after many years of languishing as only sketches, these miniatures were written in a fairly short time.

There were a few catalysts for this seemingly sudden turnaround. One was that I had just finished a long-term writing and recording project that consisted of four long-form pieces (now released as Pomegranate, on Cryptogramaphone Records) and, still feeling the creative ferment from that experience, needed the opportunity to do much shorter pieces that were formally less involved (though, as whole group, the overall structure does have some formal complexities and is pretty long!). The second was the decision to move from a trio setting to a quartet setting, thereby opening up more orchestrational possibilities. Third, I decided to base the pieces on haiku; rather than choosing specific poems, however, I chose to base the pieces on some of the syllabic rules of haiku—while hopefully achieving some of the brevity, feeling and wonder that one experiences from reading this sort of poem.

As such, these 23 pieces are all based on the number 17—a piece may have 17 measures, thematic material made up of 17 notes, etc. The overall piece is structured to have a solo piece (four) for each member of the quartet; a duet and trio for the different possible groupings in the quartet (six and four, respectively); and nine pieces for the full quartet. I tried to have contrasting sections and parts that referred back to other parts of the overall piece and to evoke differing moods and emotions throughout.

A Single Rosehip Bursts in Praise

This piece was written as part of a collaboration with choreographer/dancer Belinda Cheng. The title comes from a passage in the novel, Art & Lies, by Jeanette Winterson. The piece itself is broken into two major sections. The first is a sort of unfolding that the phrase suggested to me. The second is a more pictorial setting of the action in the book: three people (the characters Handel, Sappho and Picasso) on a subway, each with his/her own thoughts.

Chrysanthemum

This piece is based on the structure of a sonnet: 14 lines of 10 syllables each. In this case, I have “cells” of 10 notes (stated at the beginning and end as two 5-notes chords) that I have treated in a more or less serial fashion in 14 discrete sections. That is, each written section of the piece uses only those 10 original notes, though they are reordered or split between the various players. Again, I have split the quartet that performs the piece into some of its component parts: each player gets a solo and there are four trios, the remaining six sections are for the full quartet. Again, I attempted to have contrasting sections. Whereas Mosaic is played in 23 sections with breaks, this piece is performed as one continuous whole.

pfMENTUM CD023

PFMCD023