CLUSTER (FOR DEMETRIO STRATOS)
A “globular cluster” is a celestial object that can be defined as a spherical mini-galaxy composed of hundreds of thousands of stars. In its ideally perfect form, it symbolizes both polyphony and unity for me. In this piece titled Cluster, characterized by high polyphony, I aimed to multiply the voice of the extraordinary vocalist and singer Demetrio Stratos into twelve sound layers and accentuate the techniques he either invented or learned from traditional cultures worldwide.
These 46 signals, distributed across 20 sections, are simultaneously independent and polyphonic, yet united by the saturation of listening. They deliver their messages through the voices of Stratos, whether they sound natural, transformed into instruments, or rendered almost unrecognizable by electronic processing.
Originally composed for 12 audio tracks, Cluster was later adapted into a video production in 2013 and presented at the opening of the Milano Musica Festival in Milano, Italy.
Composition analysis with slides : fr.slideshare.net/slideshow/cluster-26-52010-pdf/16568800
The article Cluster (for Demetrio Stratos). A project, a detailed presentation of the compositional process (in Italian) : www.ilsileno.it/dat/wp-content/uploads/2021/04/8-Viel.pdf
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CROSSING
Crossing explores the concept of “crowded” polyphony, where the density of layers makes it challenging to distinguish individual parts, yet it remains distinct from a statistical, gestalt-like swarm. This piece continues an artistic research journey that began with Choral for two pianos and evolved through works such as String Quartet No. 4, Cluster (for Demetrio Stratos) for electronic sounds, with or without video, among others.
Simultaneously, Crossing builds on themes from previous works like Andromeda (an installation for electronic musical boxes), Planetarium (for electronic sounds), Pulsars in M5 (for trumpet, seven instruments, and electronic sounds), and Ordo Coelestis (an installation for electronic sounds and video). These works are dedicated to transforming star data into signals based on transformational “Chomskian” grammars.
Crossing consists of 36 independent sound layers, each spatialized differently for every performance to align with the venue’s acoustics and technical setup. The spatialization clarifies the “crowded” polyphony, with each star-coded message reaching the audience from a static position. This spatial arrangement creates a polyphony not only in pitch, time, and structure but also in space, allowing listeners to experience the piece as a form of musical theatre with calls, responses, dialogues, and choral interventions.
This composition addresses the challenge of mediating between foreground and background in a complex sonic environment through local minimalism and global maximalism. Each layer repeats a signal that can appear in three modes: as an explicit signal in full or soft dynamics, as a “morsed” signal where only rhythm is maintained on the main pitch, and as a “pedalized” signal where only the repetition cycle and main pitch are preserved. These modes relate to the foreground-background relationship within the composition.
Crossing is structured into 20 sections plus an introduction, with the 36 layers arranging themselves in an increasingly complex narrative. The “background” sections alternate with “presentation” sections, including solos (section 2), duos (section 4), trios (section 6), double trios (section 8), octets (section 11), soloist versus quartet (section 13), tutti (section 15), three quartet choirs (section 16), and final solo (section 19).
The work was realized using a handmade analog synthesizer, the LepLoop, recorded in 36 performances—one for each star—to imbue the piece with the indeterminacy of live performance and analog circuitry, juxtaposed with the precise and abstract rules of formal grammar development.
Detailed presentation (in Italian) here : www.darsmagazine.it/crossing-la-galassia-musicale-di-massimiliano-viel/