for Visual Music Artists, Writers, and Venues
On December 12, 2018, a dream came true, I was finally able to work in real-time with my goddess of the harpsichord, Paola Erdas (http://www.paolaerdas.it).
Paola and I had been collaborating for 10 years but until this concert, we had never met in person (album of our work: https://vimeo.com/album/2985377)
What an anniversary!
This concert was made possible by a collaboration between the Festival Wunderkammer Trieste
(https://www.tinyurl.com/yaqyt3l7), the Piccolo Festival Animazione (https://www.tinyurl.com/ycodfpw8) and the Conservatorio Tartini (https://conts.it).
It took place in the beautiful Sala Tartini, an ideal venue for such events, perfect size, great technical facilities (and very supportive audience).
We performed a total of 14 written pieces, some fairly short, a real challenge for the way I usually work (as with improvising musicians who favour long pieces, sometime doing a set exploring a single unwritten piece).
But Paola and I rehearsed focusing especially on those transitions from piece to piece, and it was thoroughly enjoyable.
The application created by my friend Bruno Herbelin (more info here “GLMixer” https://sourceforge.net/p/glmixer/wiki/GLMixer%20History/) made it all possible, and it’s on its way to becoming even better (Bruno flew to Trieste from Geneva to be at the concert, we had a brainstorming session the next day to define what could be done to his baby, what a luxury it is for me to have a genius working on “my" main application, shaping it according to my needs!).
The concert was filmed and recorded by the Conservatorio, and I was able to capture my silent images to a dedicated MacBook Pro.
I thought it would be easy to bring the audio and my silent images together, but I had forgotten an important “detail”: Europe works mostly at 25 frames per second, North America (where I live) at 30 frames per second. The recorded audio and my captured silent images did not play nice together, it took a lot of doing to present what is now available here.
As is with most intuitive work done in real-time, there are glitches, as well as (thankfully) fortuitous accidents, gifts really, but the experience is such that it really is where “I” want to go. Not at all negating the interest and worth of studio work, but live performances bring something that I can rarely touch in my studio.
Here’s hoping there will be more of these...