Kirill Shirokov (RU) Composer/experimental music 2019/20
Discipline/Genre: Composer/experimental music
Project name: of spontaneously lined places This inner project means to be the series of different pieces for different ensembles and musicians (or unscored, just made of the field recordings, domestic improvisations and so on). Every piece is based on some sound structures that forms in different places, such as coffee houses, restaurants, supermarktes or any open spaces with or without people. It works simply: any sounding object that creates “ready made music” is a starting point to start the composition. It lines the musical time, which I am starting to fill and to detail then. The HELLERAU part of the project consists of walking and searching these “ready mades” sound structures in the spaces of Dresden, recording it, listening to it and transcribing it. The quietness and peacefulness of the city makes a good platform to search things that might be recognized as detached sound installations to create then different musical masks of the located sound reality, based on the located sound reality. In different words, it is a project of delocalization the sound structures from the original space to the musical score.
What inspires you? First of all, I feel inspired by the reality itself. Maybe not exactly in J. Cage’s meaning. I am interested in keeping in unconscious touch with different contexts and in trying intuitively to create some little sound things that are inspired by the real things. The first thing there is, is not the music I know or the sounds I hear, but the unrecognizable inside of it and how it works, when I just move deeper and deeper in a way of multiple review (but not structured analyzing).
Your first three thoughts about HELLERAU: It’s a perfect place for thinking and creating things in connection with having the time to hear and listen to different layers of place. Very moving and inspiring. On the other hand, the “Karussell” Festival, which beautifully presents Russian theatre, performances and musical art, is an important experience of seeing acquainted context with a new point of view.
How would you describe your way of working? It is mostly intuitive. For the last years I am trying not to identify myself (asides of very strong social and personal waves of identification in different political contexts), even not to know how the things I write might sound. Strangeness and unknowingness are maybe the first tags I am trying to hold on while making music, composing, improvising or just thinking. The different (often spontaneous) connections with different materials, soundscapes, people and situations are to be starting points on thinking about what I could do as music. So this way of working is a bit unlined and unattached, with no starting and ending points.