Adam Stanovic

Ténébrisme collects six acousmatic works that Adam Stanović composed between 2015 and 2017, nearly all in his studio in Sheffield. Each in its own way deals with the relation between pitch and noise, and with musical form, the main focus of his attention as a composer.

Ctrl c began as a remix of Ben Gaunt’s 16th Century Horror for flute, oboe and piano: the more Stanović nudged the stems towards his own interests, the further the piece drifted, until only a few hints of the original remained. Metallurgic set out to parody a trope he found too common, form reduced to two contrasting materials fighting for dominance, using recordings of metal objects; he finished it with a lasting respect for that trope, and it won a 2nd prize at >SYNC.2015 in Yekaterinburg. Inam follows the distorted, guitar-like sound at the start of Metallurgic into pitch, noise, rhythm and power. Inja, dedicated to his wife Inja Stanović, comes from a piano theme the couple developed during a residency at CMMAS in Mexico, here in three variations with two noise interludes. Foundry Flux was generated entirely from traffic recorded around Furnace Park, a Sheffield plot where an 18th-century foundry stood and a cementation furnace still towers; it imagines the furnace’s heat before turning the place into a space for creative work. Would be to Seek, requested by Annette Vande Gorne, is a homage to Beatriz Ferreyra for her 80th birthday.

Born in Leeds in 1981 (né Stansbie), Stanović studied music and technology in Leeds and completed a PhD in acousmatic music under Denis Smalley at City University, London. In 2016 he co-founded the British ElectroAcoustic Network with James Andean.

CD in OGpak, empreintes DIGITALes IMED 18153, 2018.