Turning Point Ensemble Presents TPE INTERACTIVE

Turning Point Ensemble presents TPE Interactive, an online concert featuring works by two innovative composers David Eagle and Mauricio Pauly on Friday, June 11th at 7:30pm. The virtual concert was recorded on April 19th and 20th, 2021 in the Chan Shun Concert Hall at University of British Columbia.

David Eagle's compositions use interactive computer applications, and sound spatialization, and Mauricio Pauly's compositions are written for hybrid instrumental/electronic and acoustic ensembles. Both composers perform live interactive electronics alongside the ensemble during this concert.

This exciting and progressive online concert features two interactive compositions by David Eagle for large ensemble and live electronics The two works are Two Forms of Intuition for chamber orchestra and computer and Unremembered Tongues/ʌnɹɪmembəɹd tʌŋz for soprano, ensemble, and computer, and featuring soprano Robyn Driedger-Klassen.

Included in the concert are two compositions by composer Mauricio Pauly: Clinamen clinamen clinamen for clarinet and string quartet and a new premiere commissioned by Turning Point Ensemble, We en flor de chiflón for mixed sextet (violin, cello, trumpet, harp, percussion, electronics).

Artistic Director Owen Underhill says "this program was challenging and rewarding to put together due to the complexity and originality of the integration of Turning Point Ensemble with sophisticated live interactions featuring various forms of computer processing and live electronics. This has allowed for a rich collaboration with both composers in advance of the recording, during performance, and in the post-production phase. TPE Interactive is by a wide margin our most ambitious large-scale project realized during the pandemic. We have worked alongside our partners to present it in a high-quality audio and video format including additional interviews so that it can be experienced fully through online release."

Statement from David Eagle, composer:

Two Forms of Intuition (2011): The title comes from the philosopher Immanuel Kant who proposed that we always perceive the world as phenomena in time and space, and these he called our 'two forms of intuition'. Music though is generally seen as a process that unfolds in time while the aspect of space is more static. In Two Forms of Intuition the movement of sound in space becomes part of the musical development. The piece evolves through a series of contrasting sections or soundscapes, each focusing on distinct textures - solo notes, lines, chord blocks, staccato, legato, groups, breath & noise sounds, arpeggios - while sharing underlying harmonic material.

Unremembered Tongues/ʌnɹɪmembəɹd tʌŋz (2013): The initial inspiration came from thinking about the many forgotten and endangered languages that are disappearing or are threatened in our time. The languages are Iwaidja and Kayardild from northern Australia, Blackfoot and Cree from Canada, as well as Hawaiian, Latin and Basque. They were chosen for their sonic qualities, the vowel shapes and sound of the phonemes, and for the cultures and histories that they represent. With microphones and computer processing one can listen more closely to the live musical gesture and then follow its transformation, as it moves into a kind of dream state, at times very close, at other times reflected in the distance as if in the past.

Statements from Mauricio Pauly, composer:

Clinamen clinamen clinamen: In the score for Clinamen clinamen clinamen the representation of some of the musical dimension's changes from discrete to continuous. Singularities and intensities progress from being predetermined to being merely potentiated. This work was commissioned by Julia Maclaine and the Ikarus Chamber Players. It was first performed in New York in 2008.

"When atoms move straight down through the void by their own weight, they deflect a bit in space at an uncertain time and in uncertain places, just enough that you could say that their motion has changed. But if they were not in the habit of swerving, they would all fall straight down through the depths of the void, like drops of rain, and no collision would occur, nor would any blow be produced among the atoms. In that case, nature would never have produced anything." Lucretius, De rerum natura.

We en flor de chiflón (2021):

Mauricio Pauly composed a new mixed sextet for us (We en flor de chiflón) that included our harpist Janelle Nadeau operating her own sustain pedal, and trumpeter Marcus Goddard looping and adjusting his own sounds in real time in collaboration with the wizard-like electronic manipulations and live processing of the composer.

Turning Point Ensemble continues to evolve and reimagine concerts by seizing this time to introduce composers and their works to a bigger audience than ever before.

Learn more at www.turningpointensemble.ca.

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