Caroline Profanter, born 1985 in Bolzano (I), works in the fields of electroacoustic and acousmatic music as a composer and performer, with a focus on imaginary soundscapes and sonic narratives.
She proposes a series of acousmatic pieces, from her own repertoire as well as from other composers, that influenced her work.
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Irene Pacini (I), “Bruitxelles” (2015) 7’30’’
Caroline Profanter, “Issue” (2014) 7’24’’
Katharina Klement (AT), “Nijemo Kolo – mute dance (Péripheries)”(2016) 4’02’’
Caroline Profanter, “Phantom Phantasie” (2015) 9’18’’
Ingrid Drese (BE), “Sempre Dolce” (2006) 4’40’’
Caroline Profanter, “Magnetismen” (2017) 7’17’’
Caroline Profanter, acousmonium
The piece “Bruitxelles” premiered at the Festival Espace du Son in Brussels in 2015. It was the last electroacoustic piece composed by Irene Pacini, before moving to the countryside in the south of Spain.
In this abstract universe, spectral layers of noises and sounds form complex patterns in time and space. The piece transforms into an enigmatic maze, in permanent search of a way out.
The piece “Nijemo Kolo (mute dance)” is the third sequence of: “Peripheries”, a sound portrait of Belgrade. This piece functions entirely without pitch, using only noise-like material. It was created in memory of the great number of dead who are buried in this city and no longer have a voice but are etched into the city nevertheless. The piece is fashioned of sound particles such as the sound of the countless flames of slender candles in Orthodox churches as they are snuffed out in water; of the popcorn stands that dominate the city; of nuts, of fireworks, and of the recording of a “njemo kolo,” a silent dance during which only the rhythm of steps and jumps can be heard.
« A hybrid sound sculpture, both organic and synthetic, fluctuating and oscillating through imaginary soundscapes ». I used field recordings, that I transformed to a point where you no longer recognize any of the real sounding environment. In this total abstract univers, what remains are traces and archetypes. The resonating body (cymbal) and the modulations of circuit-bended electronics and synthesis are the two counterpoles and a reference to the parallel worlds. At first, the natural and mechanical world seem to be in opposition. The spectral amalgam traverses surreal soundscapes, and becomes more and more a symbiotic and complex mass.
A journey that traverses the inner and outer world of sonic phenomena.
The piece “Sempre Dolce” is a hommage to the composer Francis Dhomont, and was a present for his 80th birthday.
Electromagnetic waves surround us. They are omni-present in our high-technological modern world. But we don’t hear them, usually. For this work I recorded those crackling, noisy, but also melodic sounds with the help of special microphones, and created a noisy little symphony out of it.
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• free entry