Jorge SAD LEVI

Electroacoustic works 1

« Mi casa es la lluvia » (2013)
The piece is based on spatial elaboration of a small number of sound images : my voice, environment sounds and synthetic sounds . The concept behind this work is the notion of Perturbation, which also serve as inspiration for other works I´m composing at this time. The perturbation of a sound field, the perturbation of periodicity, the perturbation of pitches and rhythms are different aspects of the idea : Creation is the perturbation of a certain domain in a certain amount and extension. At the end of the piece, a reflection about ¨l´objet sonore¨ (every sound object is a lost object) , recorded at Rue Ontario, Montreal, during a strong and short summer rain gives the tittle to the piece.

Hiperrock 2nd version (2009)
If I should write a score for this electroacoustic work, I would begin with this indication for a virtual, imaginary performer : Mourning, playing with a deep nostalgic feeling and rage.
My aim was to compose a piece that at the same time could refer both to rock music and electroacoustic music genre in an historical point : the year 1974.
The composition process could be described as a constant modulation between styles …
In this sense, two opposed themes could be identified by the listener, the ¨cut and paste¨ theme, that is based on very fast articulation between different sound forms, alla Parmegiani, producing an unified sound stream, and the second, the ¨electric guitar¨ theme, in which one sound source remains identically to itself producing very different sound qualities.
No samples or recordings of live performances of real instruments were used to produce the electric guitar sounds, but physical models and synthetic sounds.

The original name of the piece evoked Leonardo´s words, ¨Per via di porre, per via di levare¨ and in a certain way the piece dramatically represents the process of its construction, in which form is less a point of depart than a point of arrival.

Aspavientos (1998)
(Imaginary recording of John Dowland’s What if I Never Speed ?)
I conceived this composition as a piece for singing and percussion « in real time » that would have been recorded in an imaginary world, with different physical laws than ours, or recorded in a reverie where there are elements that remain invariable and others that are varied or ordered in an impossible way.
I try to find the instrumental gesture and to give the feeling that this piece has been played somewhere and that what we hear is a recording, not an electroacoustic piece.

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9 €  for 29 minutes of acousmatic music

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