Decibel concert Camera Obscura performed at PICA on Monday 19 September, 2011 as part of the 1oth Totally Huge New Music Festival. Featuring works by Marina Rosenfeld, Samuel Dunscombe, Austin Buckett, Lindsay Vickery and Cat Hope, and Kynan Tan.
Composition (Malcolm Riddoch 2011): Use the Larsen effect (microphone feedback) to explore the various natural resonant frequencies of the acoustic space. Acoustic performers should listen and play the nearest microtonal equivalent in pitch, loudness and duration.
Performative attention should be paid to the resonance of one’s acoustic instrument in the space as it interacts with that space’s reinforcing resonant frequencies.
Variations in the acoustic instruments’ pitch and loudness may also drive new resonant electroacoustic feedback frequencies. In this case performative listening may alternate between passive (following the electroacoustic resonance) and active (playing the acoustic space itself).
Malcolm Riddoch (AUS) – Variation on Electroacoustic Feedback for Multiband EQ, Flute and Cello (2010).
Cornelius Cardew (USA) – The Tigers Mind ‘Night Piece’ (1967)
Julian Day (AUS)- Beginning to Collapse (2008) for ensemble [WA premiere].
Cat Hope (AUS): Longing (2011) for viola, cello, timpani, bass clarinet, laptop [world premiere]
Alan Lamb (AUS )- Musicians Coping with Infinity (2011) for infinity machine and players [world premiere]
Ennio Morricone (IT): Sacco and Vanzetti (arranged by Decibel)
Adam Trainer (AUS)– Drone Mosaic (2010) [world premiere]
Lindsay Vickery (AUS ): Night Fragments (2011) for soprano, flute, soprano saxophone, viola, cello, keyboard and electronics.