The Philips Pavilion at the Brussels World's Fair of 1958

28Feb9:0014:00The Philips Pavilion at the Brussels World's Fair of 1958Erasmus+ WorkshopRoma - via Baccina, via Baccina, 47

The Philips Pavilion at the Brussels World's Fair of 1958

Dettagli evento

Kees Tazelaar, visiting Professor dal prestigioso istituto Royal Conservatory Den Haag, partner Erasmus+ del Saint Louis, è Direttore del dipartimento di Sonologia e sarà al Saint Louis, sede di Roma, per presentare due workshop rivolti agli allievi di Musica elettronica e Musica Applicata.

Mercoledì 28 febbraio si svolgerà al Saint Louis il primo workshop dal titolo “The Philips Pavilion at the Brussels World’s Fair of 1958”.

The Philips Pavilion at the Brussels World’s Fair of 1958
Mercoledì 28 febbraio, h 9:00-14:00
Saint Louis, via Baccina 47

Aperto ad allievi accademici di Biennio di Musica Elettronica e Musica Applicata e Triennio di Musica Elettronica e Musica Applicata fino a esaurimento posti.

ingresso gratuito su prenotazione scrivendo a rossella@slmc.it

Crediti formativi per i corsi accademici: 1 CFA

Programma Workshop

Le poème électronique is the title of a multimedia performance that took place in the Philips Pavilion during the Brussels World’s Fair in 1958. The spectacular visual part was designed by the architect and painter Le Corbusier, who was also responsible for the design of the pavilion in collaboration with the composer and architect Iannis Xenakis. The equally spectacular musical part of the Poème consisted of two parts – an electronic piece composed by Xenakis to be played on entering and leaving the pavilion, and an electronic eight-minute work by Edgard Varèse. The whole performance was set by Le Corbusier in a detailed scenario and executed entirely automatically.
The pavilion was an important factor in the performance. It did not have the traditional form of an auditorium with a stage area; instead, the public was surrounded by the spectacle. The undulating walls of the structure gave the visual scene a strange extra dimension and the sound was conveyed via a huge number of loudspeakers, distributed in clusters and sound-routes along the ribs of the pavilion.
In recent years, a great interest has been taken in aspects of the project. Partly owing to his music for the Poème, Varèse achieved international recognition and his composition became an icon in the history of electronic music. Considerable interest and admiration have also grown about the design of the pavilion, this being in great measure Xenakis’s contribution, which, like Varèse’s work, took on the status of an icon, in this case for its ‘liquid architecture’. In retrospect, the pavilion’s sound system can be regarded as a precursor to immersive audio technology.

Kees Tazelaar Bio

Kees Tazelaar ha seguito corsi di Sonologia a Utrecht e L’Aia e successivamente ha studiato composizione sotto la guida di Jan Boerman alRoyal Conservatory Den Haag. Insegna all’Istituto di Sonologia dal 1993 e ne è direttore dal 2006.
La sua musica elettronica è caratterizzata da una combinazione di formalizzazione, ricchezza sonora e approccio compositivo alla spazializzazione del suono. Le sue composizioni sono state commissionate dal Performing Arts Fund NL, dalla Johan Wagenaar Stichting, dal Festival in de Branding, da Hollandia, da De Veenfabriek, dal Festival Relevante Musik Berlin e dal Groupe de Recherches Musicales Paris.
Oltre che compositore, Kees Tazelaar è uno storico, specializzato nei primi anni della musica elettronica nei Paesi Bassi e in Germania. È stato due volte Edgard Varèse Guest Professor presso la Technische Universität di Berlino, dove ha conseguito il dottorato di ricerca nel 2013 con la tesi On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925-1965 (Rotterdam: V2_Publishing, 2013).
Kees Tazelaar ha ottenuto una Fellowship Residency dalla Fondazione Bogliasco nel 2017.

Tempo

(Mercoledì) 9:00 - 14:00(GMT+00:00)

Luogo

Roma - via Baccina

via Baccina, 47