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© 2024 Vortex Temporum
Description
composers and inner thoughts about this and that --- vortex temporum is a podcast by Nuno Aroso / Limina & Diana Ferreira / Arte no Tempo | ISSN 2975-8157
30 Episodes
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Sofia Avramidou (1988) reflects on both the creative process and her roots as a Greek musician. credits:What can that be but my apple-tree? [2023], for string quartet | 2e2m string quartet // Géranomachie [2021], for large ensemble and electronics | Ensemble Intercontemporain // A hug to die [2023], for ensemble | Ensemble Intercontemporainvortextemporum.com
Instead of letting us listen to his own music, Spanish composer Manuel Rodríguez-Valenzuela (Valencia, 1980) prefers to show us the music he grew up with, which is part of his most intimate story. While trying to recognise Manuel's multiple references, we can not avoid the nostalgia of a lost world where Time was much slower.Have a listen and share with us the most important works you discovered in your own journey.vortextemporum.com
The 28th episode of Vortex Temporum podcast brings us Vienna based Italian composer Lorenzo Troiani (1989) with some thoughts about perception and attentiveness. credits: Dalla voce. Instabile [2012] for contrabass | Florentin Ginot > double bassvortextemporum.com
The Irish composer Karen Power (1977) shares a couple of stories about some of the wildest listening experiences she has had.credits:field recording made in Rainforest in Laos // Instruments of Ice [2015] | Quiet Music Ensemble & Arctic Ice (to be released later in 2024).vortextemporum.com
The UK based Argentinean composer Alejandro Viñao (Buenos Aires, 1951) stars the 26th episode of our podcast and invites us to "look at the world from the opposite point of view" we normally hold. Alejandro quotes Eduardo Galeano, Laurent Binet and also Walt Whitman and, by listening to him, we immediately feel the urge to do the (not so) simple exercise of thinking the world in the perspective of the other.credits: POEMS & PRAYERS [2023], for 16 singers, 2 pianos and 4 percussion players | The Yale Choral Artists & The Percussion Collective; Jeffrey Douma > conductorvortextemporum.com
In this episode of Vortex Temporum, Leigh Landy (1951) first shares his sadness about the lack of impact of most innovative music and suggests that things don’t have to be this way. He then engages in a dialogue with re-re-composed samples from his Radio Series in which connections with listeners’ experience are made, attempting to demonstrate, as stated in German in the final sample of this podcast, that ‘everything that you hear turns into musical sound’.credits:Oh là la radio [F, 2007] (8 ch) // To BBC or Not [UK, 2008] (8 ch) // Radio-aktiv [D, 2011] // China Radio Sound [CN, 2013] (5.1) made in collaboration with students from the Shenyang Conservatory of Music // Mezihlas -- Přeshlas – Nahlas (Radio – Voice – Overs) [CZ, 2017] (8 ch) // On the Éire [IRL, NI, 2018] (8 ch) // Aplican Términos y Condiciones [MX, 2022] (8 ch)vortextemporum.com
The 24th episode of Vortex Temporum podcast brings us a dialogue between Klaus Ospald and Klaus Ospald (1956). Let’s check if this German composer agrees with himself.credits:Maíz raíz, menos criatura [2014/2015], for orchestra, piano and chamber choir, on text by Miguel Hernández | Markus Bellheim > piano; Singer Pur; Bavarian Radio Symphony Orchestra; Peter Rundel > conductor // Sopra un basso rilievo antico sepolcrale... [2008], from the Leopardi-Zyklus, for mixed choir, bass tuba, four percussionists and live electronics | WDR Rundfunkchor Köln; Hans Nickel > Basstuba; Schlagquartett Köln; Experimentalsstudio des SWR (Reinhold Braig and Joachim Haas > sound direction); Rupert Huber > conductorvortextemporum.com
2024’s first episode of Vortex Temporum podcast features Nigerian born composer, based in Switzerland since 1968, Charles Uzor (Udo Mbaise, 1961). Charles guides us along the episode with his voice, thoughts and sounds in order to offer us his manifesto. If you do not know his work yet, you might be very well surprised by clicking play.credits:qui ainsi me refait…. veoir seulement et oïr [2003], for guitar quartet | guitar ensemble 'quasi fantasia' (Christian Bissig > standard ten-string guitar; Karin Rüdt > octavine guitar; Susanne Ott > terz guitar; Gudrun Bachmann > quinte-basse guitar) // Jaray's journey to the Ba-Benzélé [2022], for Ondes Martenot and hybrid electronics | Caroline Ether > ondes martenot; Charles Uzor > sound bawls, piano reverb, electronicstexts (also by Charles Uzor)Manifesto. Nach der Natur // 10 Bamboos // Snowvortextemporum.com
The last Vortex Temporum's episode of 2023 arrives from France, where Iranian born composer Sina Fallahzadeh (1981) lives and works. Sina shares with us some timeless thoughts on life and music surgically wrapped in delicate sound.credits: sound material from Arche [2020] // Yasnâ [2019], for choir and electronics - commissioned by IRCAM and Estonian Philharmonic Chamber Choir // Métanoïa [2019], for baritone, ensemble and electronics, commissioned by IRCAM and Ensemble l'Itinéraire. vortextemporum.com
Closing the year 2023, Colone based Portuguese composer Luís Antunes Pena (Lisbon, 1973) reveals that, for himself, composing means to be able to dive into a domain that one does not control totally. Or perhaps this episode is about his addiction to buying books about anything. Anyway, have a listen to his beautiful analog synthesizer improvisation while discovering the his world.credits: improvisations with Serge Analog Synthesizer and Csound processing.vortextemporum.com
In the 20th episode of Vortex Temporum, Paris based Argentinian born composer Daniel Teruggi (1952) - who directed GRM Paris from 1997 to 2017 and has composed more than 100 works, mainly acousmatic works for concert, as well as electroacoustic works with instruments – tell us about how he came to work with Iannis Xenakis (1922 - 2001) on the production of Pour la Paix [1981] and later on the stereo reduction of his electroacoustic works.credits: Gestes de l’écrit [1994] > acousmatic piece composed with UPIC // Images symphoniques [1998] (movements 2 and 4) // Pensées symphoniques [2022] (movements 1, 4 and 5)vortextemporum.com
Strongly inspired by colour and sound, on the 19th episode of Vortex Temporum podcast Australian composer Amanda Cole (1979) tells us how she came to combine both in the production of new microtonal art objects. Credits: Tones and Textures in Wool and Sound [2023] - art gallery installation // Wine glass texture // Colour Chord Chart - Improvisation on a microtonal chord progression for microtonally tuned wine glasses and trombone | Amanda Cole, Jared Underwood and Greg van der Struik // Study in F-Sub Minor for Lumatone | performed and recorded by Amanda Cole.vortextemporum.com
The 18th episode of Vortex Temporum podcast brings us Austrian composer Clemens Gadenståtter (1966) who shares his thoughts on the intricacies of Perception, towards the art of composing. If we lay our ears in the background music, we can have a taste of his work "Making of - intimacy".credits: making of – intimacy [2022/23] for flute and orchestra | RSO - Vienna; Karl-Heinz Schütz > flute; Marin Alsop > conductorvortextemporum.com
Punctuated with some excerpts from the work she created in 2022 - inspired by the poem "Absences" by Palestinian poet Mahmoud Darwish (a piece the composer dedicates to the refugees of our time) - Takij-Canadian composer Farangis Nurulla-Khoja (Dushanbe, 1972) kindly shares some thoughts on nomadism and memory.credits: excerpts of Daughter of Absence [2022] | Turning Point Ensemble; Owen Underhill > conductor; Isidora Nojcovic > cello. vortextemporum.com
After Summer holidays, Vortex Temporum podcast is back. Current guest is Australian composer Liza Lim (Perth, 1966), who shares some episodes on the making of her most recent work for Lucerne Festival, Multispecies Knots of Ethical Time [2023]. Do have a listen to her reflections on her relation with ‘more than human’ nature!credits:Extinction Events and Dawn Chorus | Klangforum Wien; Peter Rundel // Sex Magic | Claire Chase > flutevortextemporum.com
German composer Johannes Kreidler (Esslingen, 1980) is a professor of music composition at the Hochschule für Musik Basel (Switzerland). In the 15th episode of Vortex Temporum podcast he reads us in a very personal manner three texts by three distinguished philosophers: Friedrich Nietzsche, Theodor W. Adorno and Gilles Deleuze. Find out what do they have to say about something related to ...conceptual music. vortextemporum.com
On the 14th episode of Vortex Temporum podcast, German composer Enno Poppe (Hemer/Sauerland, 1969) tells us about what interests him the most. In a conversation occurred at Casa da Música (Porto), the composer reveals how difficult it is for an artist to talk about something that has nothing to do with his own work and he shares some thoughts on music and the way composers talk about it, but also about travelling, literature or reading wikipedia articles.credits:Schrank, for nine musicians [1998]: II | ensemble mosaik & E. Poppe // Speicher V [2012] | Klangforum Wien & E. Poppevortextemporum.com
The 13th episode of Vortex Temporum podcast brings us some thoughts of Dutch composer Kees Tazelaar (1962) on Jaap Vink (1930 – 2023). In this tribute to his first teacher, deceased last January, Tazelaar uses excerpts of two of his own works – Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande [2014] and Wellen [2023] – based on techniques he learnt from Vink.Besides being a composer, Kees Tazelaar is the head of the historical Institute of Sonology since 2006 and a historian who has specialised in the early years of electronic music in the Netherlands and Germany.vortextemporum.com
The 12th episode of Vortex Temporum podcast brings us the New York based American composer Mary Jane Leach (1949), who shares some thoughts about acoustic spaces and her memories on occasional sound experiments. In the background we may listen to her organ work Pipe Dreams [1989], performed by herself.vortextemporum.com
In the 11st episode of this podcast, Elżbieta Sikora tells us about some of the adventures she lived while "hunting sounds". One of them occurred in Portugal and resulted on a saxophone and tape piece commissioned by GRM that testifies the urgency of the projects that artists can't give up.credits: Lisboa, tramway 28 - hommage à Fernando Pessoa [1998] | Daniel Kientzy > saxophones // Grain de sable [2002] // Axe Rouge V [2008] note: musical excerpts from the works mentioned above were freely mixed and edited by AnT.vortextemporum.com
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