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At ZDB Lisboa 2006

by Vitor Joaquim, Carlos Zíngaro

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Following the previous release with Simon Fisher Turner, this new LIVE Series + edition with Carlos Zíngaro encompasses 4 tracks resulting from one file recording of the concert. The split tracks where made only for navigation purposes. The continuous flow and chronological order of the concert is preserved and no silences or performative changes were added to the original.
Recorded live on 13.04.2006 at ZDB Gallery (Lisboa) as part of the Radio Zero and ZDB productions.

The recording was made essentially for future memory and for that reason some tech tweaking was needed, mostly for noise removal.


CONCERT CONCEPT
The idea was very simple: Carlos Zíngaro would play the violin and his signal would be split in two ways: the mixing desk (FOH) and my RME sound card. From there, I could only play with him with "his own sound".
Based on my “glued perception” of his aural content, I needed to make choices at two different levels. The first level corresponds to the appropriation process, and it had 4 major steps: choosing what to sample, i.e. when should I hit the rec, when should I hit the stop and where to locate the sample after being recorded.
After every single sample was located, I needed to deal with a second level of choices: what to do with what I had and make that decision in a split second while CZ was playing and new "motives" were also claiming to be sampled. In practical terms, my attention needed to be split, all the time, in two completely different operations: appropriation and treatment.
So, while I was listening, I was also deciding what to do with what I had: how long should it be? Would I play the complete sample or only a few milliseconds of it? Maybe the transient? Maybe the tail? Was it louder enough? Should I search for a good start of the file based on the visualization of the wave and find also a good end?
What kind of motif is it? Atmospheric? Syncopated? Phrase based? Should I make a triple copy and transpose one to -5 and the other to +7?
Probably I should cut 5 or 6 dB on the +7 copy so that it doesn't turn too much to the foreground and destroy the whole perception?... Should I just listen?
Wouldn't it be nice to pass a certain file through the granular process and drag all that ambiance very slowly to the background so that Simon could improvise over a carpet of samples? And if he doesn’t react immediately, how long should I keep it?
The amount of questions and decisions involved in a sampling-based concert like this is far beyond my memory or imagination. The most important thing that I can say about it is that I love doing it. I've been doing it for 20 years, and for that reason this recording is now being rescued from the archives. No fear, no anguish, only joy and inner peace.

Thank you Carlos Zíngaro for your unconditional passion and love for music, and for our long and last friendship.


Carlos Zíngaro
(1948) violin and electronics, composer, visual artist. Undertook classical music studies and became a member of the Lisbon University Chamber Orchestra at the early 1960's. Since 1975 he performed with a wide variety of improvising musicians and composers like Otomo Yoshihide, Fred Frith, Paul Lovens,Barre Phillips, Derek Bailey, Joêlle Lèandre, Evan Parker, Mark Dresser, Richard Teitelbaum, Peter Kowald, George Lewis, among others. Was invited by Wroclaw Technical University in Poland to participate in the 1st Instrumental Theater Meeting in 1978, and in 1979 was offered a Fulbright Grant for residency at the Creative Music Foundation in Woodstock, NY. Studied Musicology and Electronic Music and developed an ongoing work and interest in all forms of electro-acoustic interaction. As a soloist, or with other musicians and composers, “Zingaro” has performed in the most important new music and "free form" festivals in Europe, Asia and America and has a discography that reaches 70 recordings. A substantial level of Carlos “Zingaro”’s musical activities is also associated with theater, film and dance. He has a degree in Stage Design and in the visual field he received several prizes for illustrations, comics and painting, samples of which can be seen on a number of CD/LP sleeves and musical magazines. He is a founding member of the Lisbon art gallery Cómicos and also the founder and president of experimental arts / music association Granular.

credits

released July 2, 2020

Carlos Zíngaro: violin
Vitor Joaquim: violin live sampling & processing, sounds, granular synth
Composed by Carlos Zíngaro, Vitor Joaquim
Mastered by Vitor Joaquim at Xara during June 2020
Photography (CZ, 2011; VJ 2019) by Nuno Martins (nmartins.com)
cover by Vitor Joaquim

(C) Carlos Zíngaro / Vitor Joaquim (SPA); (P) Vitor Joaquim 2020
vitorjoaquim.pt | www.facebook.com/carlos.zingaro

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Vitor Joaquim Setubal, Portugal

Electronic experimentalist, sound and visual artist. He started performing improvised music and get involved in experimental art by the mid 80's.
Since then, he has created extensively for dance, theater, video, installations and cross media platforms. He is graduated in sound and film directing and has a phd in computer music.
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