"Biomechanics" in the electric chair - MK

"Biomechanics" in the electric chair - MK



Music festival of experimental genres opens in Moscow

The radical element of the Moscow Conservatory with the futuristic name TsEAM (Center for Electronic and Acoustic Music) opened the Biomechanics multimedia festival in the Rachmaninov Hall. It is held for the second time and is a representative forum demonstrating the achievements of the experimental genres of contemporary academic art. At the concerts of the festival, you can meet the authors who position themselves as adherents of electro-acoustic music and multimedia.

The radical element of the Moscow Conservatory with the futuristic name TsEAM (Center for Electronic and Acoustic Music) opened the Biomechanics multimedia festival in the Rachmaninov Hall. It is held for the second time and is a representative forum demonstrating the achievements of the experimental genres of contemporary academic art. At the concerts of the festival, you can meet the authors who position themselves as adherents of electro-acoustic music and multimedia.

The Rachmaninov Hall was almost full. What inspired optimism, given the peculiarities of the aesthetics of the event, as they say, "not for everyone." The 21st century, which inherited the musical avant-garde from the 20th century in the form of a canned product, oversaturated with stabilizers, which has long lost its natural taste, color and smell, is in dire need of an upgrade of hopelessly outdated forms. Everything was already there - atonality, and dissonances, and sonorism, and specific music, and the use of the sounds of a drill, a jackhammer, a perforator, gasoline pilers, not to mention piledrivers, as well as all kinds of noise that speakers and acoustic systems are capable of producing. All these techniques, as luck would have it, were already worked out to the tail and mane by composers of the 20th century. But after all, even today, authors who are not able and do not want to work in the traditional musical territory want fame, excuse me, creativity. How to proceed?

The Biomechanics Festival answers this question: we need to take everything that the “culture” of the past has already mastered - noises, chainsaws, roaring speakers, performances - and superimpose them on the new possibilities of the Internet and video content. At the forefront of the Rachmaninov Hall there is a long table on which various table lamps of various sizes are lined up in a row - no less than 20 pieces. Four performers "work" with switches. By pressing on them in different rather simple rhythms, they tap out something resembling a tap. The lights go on and off in sync with the knock. This is the composition of the Hungarian composer Matjan Vetl "Nocturne". Wettl himself is a laureate of composer competitions. "Nocturne", as it was said from the screen by the student-theorist presenting this issue of the program, is his best composition.

The next issue aroused the desire to apply to some league for the protection of avant-garde music performers (does it exist?). It was the Russian premiere of a composition by Danish author Simon Löfler called "V" for three performers. As the commentator (also a theoretical student) explained, the name "B" (that is, the Latin letter "be") is nothing more than a reason for one's own associations. To perform this little thing, four cute young guys were put on chairs and ... attention ... static electricity was passed through them. That is, consider that the children were sitting on electric chairs. They twitched in convulsions, causing infernal electro-acoustic noises and periodic switching on of fluorescent lamps with their convulsive movements ... Really, b ...

It was the turn of the German avant-garde. First, they hit Mikael Bayle with the “Caravan”, in which the young martyr heroes who survived after the previous issue dressed in T-shirts with “artificial intelligence” drawings (the same know-it-all student reported this from the screen). The sounds were about the same - all kinds of "bunches and grunts" of frequency pickup. The movements of the performers, broadcast on the screen in the form of patterns, were cool, although sometimes the right hand of one or another participant was dangerously thrown up in a well-known dubious greeting ... In short, cinema and the Germans.

The finale of the parade of European masterpieces ended with Schubert. The performers sitting on electric chairs, banging on switches and waving their arms, this time acquired musical instruments: piano, clarinet, flute, percussion ... And in vain: all the same noises and swotting did not require special performing skills, which once again testifies: not all Schuberts are equally useful. A multi-genre show called F1 with elements of home video and resort animation touched on current European troubles. The protagonist in a full-length carnival costume - either a panda, or a rat, or a hare - clearly demanded tolerance from the audience. But instead, he was pursued by virtual death, which appeared on command F1, apparently from the east. Frankly, the power of Herr Schubert's work was too overwhelming for the MK reviewer. Reflecting on the topic of contemporary art, he inserted headphones into his ears and turned on Beethoven's 111th opus. A thought appeared in my head: “And why did Lenin call Beethoven's music inhuman? Lenin simply did not hear real inhuman music ... But we happened to ... "



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