Chronometry for Cello and Electronics
in memoriam Borys Liatoshynsky
Performed by Valeriya Sholokhova (Cello)
Originally written in 2019, this is the third edition of the work. The music is inspired by thoughts about my teacher — Borys Liatoshynsky. His presence in our musical culture was visceral and he himself as a unique human being, as a teacher and interlocutor, is certainly missed. I dedicate this piece to the family of my friends — musicians from Estonia, Imbi, Raivo and Madis Tarum, from whom I learned a lot about the authentic performance of Early Music. This work is electroacoustic, or more precisely nouveau-concrete music as I call it. The technique is similar to the traditional technique of musique concrète, with the only difference that the recording here is digital, and the processing of the material is not cutting magnetic tape, but working with audio editors. The acoustic part includes virtual cello part, generated by a sample from Edirol Orchestral plugin. This virtual cello almost always enters first, which helps the real cellist follow the material. The idea is to compare what is firmly fixed and what is alive — vulnerable and sensitive. The value of electroacoustic music is the expansion of the palette of sound to comprehend everything — even noise — as music. Then the whole audio environment is perceived in a new way. The street is no longer a traumatic noise, but a powerful symphony of life.