Multichannel Composition:

        Al Niente. A Song From a Past Time

Piece for cello and fixed media (8ch)
Liza Kuzyakova for Sigrid Sand Angelsen
(2023-2024) 16'


Amid the amalgamation of acoustic and electronic textures in space, there is a perpetual shift in listening experience - from the peripheral to the proximate, softness to expansivity, between continuity and interrupted flow. Al Niente reveals the delicacy of sound materialities, forging an ambiguous shuttle between form and dispersal, the cohesive, almost physical integrity of cello, and a fracturing or pulverising gesture. Veering into the imaginary, the sense of drama lingers in the occluded traces of the cello's form. It is an invitation to succumb and be riveted by the transmuting, scattered in memory shapes and perceptual tensions.


The piece arose as a result of my fascination with a dynamically unfolding composition. Part of the research on sonic fiction, aural drama, and ruins, it grew out of the two earlier versions developed in close collaboration with the soloists. I want to express my deepest appreciation to Diederik Smulders, who worked with me at the initial stages. And to Sigrid Sand Angelsen for the generosity of time and fervour expressed during the many sessions we had over the course of year it took to create this piece.

June  2024


October 11 2023

May 2023

IIII


II


I

Al Niente. A Song From a Past Time III (8ch; for Sigrid Sand Angelsen) Amare Studio, Den Haag NL

Al Niente. A Song From a Past Time II (8ch; for Sigrid Sand Angelsen) Koninklijk Conservatoriu Concert Hall, Den Haag NL

Al Niente. A Song From a Past Time (12ch; for Diederik Smulders) New Music Lab, Den Haag NL

Untitled

        Sarid

14ch 
(2022) 12’

Saríd שָׂרִיד, from Hebrew, describes something that remains after the destruction and that resembles existence of the whole. A trace of something disappearing or no longer existing, it leaves only reminiscences, fading echoes of the sound.

A thrilling accession towards noise, Sarid reveals a unique and sensitive approach to the tension between distortion and essence, absence and delicate prominence, going further than the material itself. Uncovering the piercing density and convulsive fluctuations of energy, the piece uses the instability of sound as a starting point and constructs reality in between careful displacement and complete chaos.  A meld of many contributions, poetic and rough, remnants of noise adapted to new sonic realities.

June 4 2022  
Sept 2022

Dec 2022

17 May 2023

Sarid (14ch) was premiered at BUDA BXL, Brussels, Belgium as part of ‘The Tar Pits’ concert, June 4 2022

Sarid (8ch) at the Concert Hall, Den Haag NL

Sarid (8ch) at the Toonzaal, Willem Zwee, Den Bosch NL,

Sarid (12ch), Composer Rostrum, Den Haag NL,

        Yesh me’Ayin

stereo / 8-channel fixed media composition
(2021) 9'12

Yesh me'Ayin - a composition prepared in the Analogue Studio BEA5 of the Institute of Sonology in The Hague. Using the studio's analogue equipment from the 60s and later for sound transformation, and experimenting with techniques of acousmatic music, the piece is an elaboration on an authentic collection of recorded material.

The work unfolds as an electric field, a pulsating soundscape of a traditional Chinese instrument - guqin, and deconstructed percussion; a dynamic interplay between its recurring elements.

May 2021.  

A multichannel version for 8 speakers was presented in Arnold Schönbergzaal, Koninklijk Conservatorium in May 2021. ,

        Echo of the zero and the second hundred: delusions of wondering rumble

8-ch sound installation
(2022) 12’5
Het HEM, Zaandam, Netherlands

Taking place from the middle of the long tunnel, a sound system spreads for 75 meters, merging acoustical spaces into a whole vibrating continuity. A composition for the acoustics of the tunnel, the 'Echo of the zero..' originates from a small resonating room and dramatically expands to evoke a response of the space all along its joints.

May 2022   

Exhibition, Het HEM, Zaandam, Netherlands

Ultra-Sonic-Face is a performance piece in which the speaker is worn on the face by the performer as a mask, cultivating a new sense of space based on auditory perception. The unique characteristics of the ultrasonic speaker technology allows the sound to be transmitted in a narrow directional beam, and for the sound to be reflected from the architecture of the space, highlighting the unique features of the surrounding. 

Performed with Amos and Yoel Peled as part of the iii ‘No Patent Pending #43 program at Gaudeamus festival, Ultrecht NL, 10 september 2022