Estonian
Music Days

Beauty of Chaos
12.–20.09.2020
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Fri, September 18
19:00
ZERO

Estonian Public Broadcasting, Studio 1
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Free entrance

Curator Malle Maltis
Lightning Designer Priidu Adlas

Otto Iivari
“Static” (2020, premiere)

Daniel Blinkhorn
“Anthozoa” (2011, Estonian premiere)

Johanna Kivimägi
“462” (2020, premiere)

Rebeca Vilpuu
“Crash” (2019)

Tõnis Leemets
“AntiMūsa” (2020, premiere)

Ekke Västrik
“Hidden Noise” (2020, premiere)

Juuso Sebastian Salonen
“The Birth of Kannel” (2018)

Hidden noises will be awakened, in a refined and artistic way, the windows to the fantasyland will be opened, and travels on the paths of ancient legends will begin. You will hear new compositions of several young composers.

Static: Silelis 405 D1 is a model of an old portable TV from 1985. Today this item produces only crackling sounds and noise. Static is a piece where all this noise and sounds are moulded and filtered into an interpretation of all the stories that have gone through this little TV. An experimental journey into the idea of making something musical out of pure noise and a question if there is something left hidden in the sound of an old machine.

anthozoa: Looking across the water, sounds can seem to mimic the visual sense of panorama; wind and wave sounds, seaspray and splashing. Underneath the waves however there is a very different portrait. The crisp, delicate clicks, pops and snaps produced from coral reefs present a soundscape far more intimate and dexterous as the many marine animals bustle and fossick amidst the reef. Structurally, the composition depicts the many and varied shapes of coral reefs, from their jagged yet intricately textured features, to the dramatic variegations of size, depth and density. The sound shapes created in the piece are designed to describe my impressions of coral reefs. There are only two sound sources within the composition, that of a prepared piano (more specifically a single D note) and a composite recording of coral. The composite coral recording is comprised of two field recordings; one was captured in the Great Barrier Reef in Australia, and the other is from a coral reef off the coast of Barbados in the West Indies.
I have used the prepared piano note as a central pitch axis for the work, providing a metaphor for the clear, unbroken line of an ocean horizon, whilst the remaining material consists almost entirely from the (largely unprocessed) composite coral recording that can be heard beginning from 1:25 in the piece. 
The work was composed in the Studio Alpha, Visby International Centre for Composers, Sweden and the composers home studio in Sydney, Australia. (*Special thanks to EcoSono for making the Barbados field recordings possible. Daniel Blinkhorn)

462: Venus is the worst case scenario of planet Earth. The average temperature on the planet is 462 degrees Celsius. Storms, solar winds, heat, uninhabitable environment. And yet it is the morning and evening star of our solar system, shining in its resplendent beauty. (Johanna Kivimägi)

Crash (2019): This piece was inspired by three objects, each of them moving along their own trajectory. At one point these trajectories overlap and the objects collide. (Rebeca Vilpuu)

AntiMūsa is a psychedelic journey on a prehistoric sea not yet too brightly illuminated by the rays of rational thinking, where everything seemingly familiar (nature sounds, quotes from classic texts) can turn into something else and nothing (e.g., the origin and presumable musical context of the sounds) can be taken for granted. It is a double dedication to the sirens, who 1) supposedly lived on the island of Anthemusa; 2) though (bird-)women with fatally attractive voices, still lost a singing contest… to the muses. In Odyssey they can be outsmarted quite easily; personally, I prefer the earlier story of Jason and the argonauts, who passed the sirens as the lyre of Orpheus silenced their singing. This gives us hope that even today, with the help of muses, we can safely pass the myriad of voices whispering or yelling in our ears. I would like to thank Claude Debussy and all the sirens. (Tõnis Leemets)

Hidden Noise: For me, noise pollution is an important topic that I encounter especially when making field recordings. Very few places remain unpolluted by man-made noise. You can escape visual pollution by closing your eyes, but you cannot close your ears the same way. To filter out useful information from this vast field of noise, our brains need to work hard and use a lot of energy. Generally, noise is an unwanted side-effect of another action – for instance, traffic noise is caused by our need to move from one place to another. The noise that accompanies this activity is inevitable. One way to “make peace” with noise is to direct your attention to it and often you will discover that exciting sound events are taking place within this noise. 
The goal of Hidden Noise is to give noise a chance to be heard. Although noise can also be fascinating to the human ear, the sound material of this composition usually remains hidden. For instance, I have used “microphones” to make the electromagnetic fields of some devices audible and introduced our ears to sounds that occur in ultrasound frequencies. (Ekke Västrik)

The Birth of Kannel was composed in 2018 within a sound synthesis course with Hans-Gunter Lock as the instructor. The text originates from an old Soviet collection of Karelian folk songs. The longer version of the same song can be found in the 44th chapter of the Finnish national epic poem Kalevala. The story is about a character called Väinämöinen and the crafting of the first kantele from a silver birch. After the loss of the first kantele, a new one was made from the jaws of a giant pike. (Juuso Sebastian Salonen)

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