Sound & Vision XXI - Privilege

Experimentalkonzert Computermusik


Abschlusskonzert KSF Medienkomposition und Computermusik | Luka Drndic


Konzert, Klassenabend, Kaleidoskop

03.06.2025
19:00 - Sonic Lab

Werke von Luka Drndic, Naol Kim und Yilin Yang

Vs 02.06.25             

  Programm


 Luka Drndic
 Elgar Cello Concerto Op. 85
 Recording of Solo Cello and 6 Celli

One of my favorite Concertos for the cello of all time is Edward Elgar’s Cello Concerto. It is raw, expressive and full of emotion. When I found the arrangement for 7 celli, I knew this was something I had to recreate myself, especially now that I have the right tools to do it. Even though this piece was intended for a full-scale orchestra, I believe it can be performed through almost any format (like this one) and it will stay just as impactful and emotional.

 Plastik
 Original piece, recorded guitar alongside virtual instruments

The idea behind “Plastik” is that…there is no idea. I wanted to make a piece that I didn’t compose prior to recording, and to, in a way, improvise throughout the recording over a simple drum loop. The goal was to see how can an idea with a simple beginning evolve into something bigger as the recording goes on, without overcomplicating it.


   
 Naol Kim
 Dis)Connected
 24-Kanal-Elektronikstück mit Live-Video

(Dis)Connected“ thematisiert das allmähliche Verschwimmen der Grenzen zwischen der virtuellen und der realen Welt. Wiederholende Klänge und feine, kaum wahrnehmbare Veränderungen erzeugen eine subtile Irritation, die dazu führt, dass man vergisst, was real ist und was nicht. Dieses Gefühl der Desorientierung wird durch eine visuelle Live-Projektion verstärkt, die ebenfalls zwischen konkreten und abstrakten Räumen oszilliert. Das Werk lädt das Publikum ein, sich in einem Zwischenzustand aus Verbindung und Trennung zu verlieren.



Yilin Yang
The Sigh
 for multichannel electronics

This is a stream-of-consciousness fixed-media piece. It's an evolving form where the structure of Chinese opera is softened and blurred by the breath of a synthesizer. I draw on the traditional operatic form — a percussive prelude before a character appears, and percussion to close the scene. However, unlike the precise and ordered rhythms of classical opera, the percussion here is unstable and fractured — echoes from disrupted timelines.
 
Alongside these rhythmic disruptions, I weave in the sampled voices of women from various operatic tales. Their phrases — disconnected from their original narratives — intertwine with the synthesizer’s sounds, overlapping, interrupting, and reshaping one another. These voices emerge from different times and unrelated stories. And yet, somehow, they gravitate toward the same breath.

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