Christian Schröde / Martin Burk / William »Bilwa« Costa

Christian Schröder & Martin Burk – Resonanzbässe

Stück für 2 Kontrabässe, Nylonsaiten, Elektronik

Komposition: Christian Schröder

Das Stück ist eine Erweiterung der Installation Resonanzbass von 2010.

Zwei Kontrabässe werden durch Nylonsaiten miteinander verbunden. Die Klänge der Instrumente regen sich gegenseitig an und bringen die Saiten dazwischen in sichtbare Schwingungen. Der Fokus der Komposition liegt an der Erweiterung des traditionellen, akustischen Klangraums in mehreren Ebenen – klanglich, räumlich und ins Visuelle. Die Bässe werden durch Tonabnehmer verstärkt. Teil der Komposition ist das Überblenden zwischen den verstärkten Signalen, man hört z.B. den gezupften Kontrabass akustisch und den Widerhall des passiv gespielten Basses über Lautsprecher.

Die Musiker stehen sich im Abstand mehrerer Meter gegenüber, die elektroakustische Komponente des Stücks erzeugt einen unnatürlichen Nachhall des Raumes zwischen ihnen.

(Mit freundlicher Unterstützung von Thomastik-Infeld!)

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William „Bilwa“ Costa – un/natural fields: ubahn berlin/vienna

un/natural fields: ubahn berlin/vienna is a composition based on the the ubahn systems in both cities, using sound material recorded on the ubahns. The score incorporates information from both, finding similarities, dissimilarities, reoccurring themes, and other information; both significant and arbitrary. Bilwa is based in Berlin and has frequented Vienna since 2010 for various projects, often spending long periods here, so his personal relationships with the two ubahn systems will influence compositional decisions. This composition is part of an ongoing research and performance project titled un/natural fields .

un/natural fields is a project that cultivates man-made, digital, analogue, and mechanical sounds, as well as other incidental sounds, which make up a city’s soundscape.These found sounds are over-dubbed (played back and re-recorded) in different locations, with various acoustic qualities, as well as incidental sounds. This technique, natural overdubbing, offers a means of effecting, or processing, the original recordings as well as combining sounds which are unique to the different locations. The result is a palette of complex sounds which contain various qualities as well as cultural references, combined by both choice and chance.

un/natural field recordings are arranged in multi-track sound palettes which, combined with sine-tones, are used for experimental compositions; employing techniques associated with Musique Concrète, electronic music, generative music, and Psychoacoustics including: phasing, oscillation, binaural beating, cancellation, auditory illusion, etc. Compositions are often site-relative, and sourced from material or information associated with the locations. For example: architectural motifs, subway maps, urban planning, numbers, letters, and colors.

William „Bilwa“ Costa is an artist who works in the performing, sound, and visual arts contexts. His work includes: performance, installation, experimental / electro-acoustic music, sound art, un/natural field recordings, graphic scores and conceptual structures for sound and movement. Collaboration with other artists is essential to his work. He works internationally, generating research, labs, workshops, and performance projects, actively cultivating opportunities for artists to work together on new interdisciplinary experiments. Currently based in Berlin, Bilwa has performed, led workshops, and lectured in N. America, UK, Europe, Asia, and Australia.

soundcloud.com/bilwa