Composed for Mia Stanton
First performance: 14 May 2022
Performed at the ANAM Set Festival by
Mia Stanton (violin)
This piece is a slow, meditative survey of double harmonics and their subtle timbral differences. At times, the violinist’s fingers slide a few millimetres off harmonic nodes, while maintaining the same light touch. This technique produces gradual transitions from pitch to noise and back; occasionally, it summons unexpected, but welcome ‘guests’—emergent inharmonic sonorities, which lie just alongside their better-know overtone counterparts.
About the composer:
Intimacy, nuance, and quietude are the core themes of Charlie Sdraulig’s creative practice. His work often draws attention to the social dynamics of musical situations, focusing on subtle sonic and gestural behaviours.
Highlights include headlining I N T I M A T E, a festival produced by Kinetic (UK), where Gwenaelle Rouger (France), Marco Fusi (Italy), and Winnie Huang (Australia) performed a meditative, hour long experience for one audience member at a time. His music has been presented at numerous festivals internationally, including Ear to the Ground (Belgium), Kalv Festivalen (Sweden), MATA (USA), Schloss Solitude Sommerfest (Germany), and SPOR (Denmark). His works have been commissioned and performed by major soloists and ensembles: Apartment House (UK), Distractfold (UK), ELISION (Australia), Ensemble SurPlus (Germany), Spektral Quartet (USA), Adam Tendler (USA), Heather Roche (Canada), Weston Olencki (USA), Zubin Kanga (Australia), and many others.
He holds a Doctorate in Composition from Stanford University, where he was supervised by Brian Ferneyhough. His research encompasses writing upon social interaction and innovative notations in experimental sonic practices.
More info: https://www.charliesdraulig.com/
Photo credit: Andrew A Watts