Performed by: Natalia Reneva (harpsichord), Vladimir Gromadin (live electronics).
Nostalgia for the sincereness. For the beauty. For something plaintive. Nostalgia for love, for the joy.
Nostalgia for baroque. For beautiful instruments and performers. For beautiful acoustic sound.
Nostalgia for „Totoro“. For the endless calmness of gagaku music.
Nostalgia for the classical form. For the classical development of the material.
Nostalgia for the 1980's synthesizers. For the misty ambient sounds
Nostalgia for happiness.
And though is a postmodern piece when combined all that different sources together. City vanity with the reminiscences of the world culture within, the gravity of contemporary people to the happiness — all that becomes a unique acoustic space that eventually breaks the harpsichord's sound full of „irregularities“. And this harpsichord becomes own comfortable place in between of the big cities. It's the only thing where composition always returns. Sometimes this tiny world unites with the surrounding streams, sometimes sounds in an unison when surrounding world echoes is, or sometimes simply fades making us forget about its existence.
...the happiness is tricky. the only thing remaining after it fades is the nostalgia, the nostalgia for the happiness...
Performed by: Natalia Reneva (harpsichord), Vladimir Gromadin (live electronics), Alex Nadzharov (mixing).Recorded live on November 21, 2007 at Moscow Conservatory Rachmaninov hall.
Synthesizers: VirSyn Tera 3, NI Pro53, Synapse Hydra, Korg Legacy Cell&Wavestation, z3ta+, LM-7
Signal processing: NI Guitar Rig 2, Waves Morphoder, Camel Phat3, Orange Vocoder, Ultrafunk Surround, Lexicon PSP42
Sampler: Edirol Orchestral
Live processed 3 channels of the harpsichord sound.
Composition was made sequently by different parts and the hardest thing was the mixdown fo them in a whole thing. This lead to enourmous numbers of audio channels (80 something in the final version) and synthesizers (some ones as VirSyn Tera 3 are used with several timbres and channels) but most of all their role is narrowed to a small episodes just for creating minor sound variations. The aim is not to synthesize the more or less familiar sound, but to have it saturated by a specific instruments. That's the reason of absence of Max/MSP class software in this piece because they don't fit in this piece's concept.