Modulisme Session 039 und 040 mit Paul Pignon und Miguel Frasconi
Paul Pignon was born and grew up in the UK. Began playing jazz at 15. Studied physics at Oxford. While there in 1961 he made his first forays into non-idiomatic improvisation, abandoned Ph.D. research at Oxford in favour of music. He moved to Yugoslavia and co-founded the Radio Belgrade Electronic Studio. 14 years of working with the Synthi 100 which was originally custom built for the Studio. Active as composer of chamber, vocal electronic and improvised music there, leading the group Interaction.
After helping to found the Electronic Studio at Radio Belgrade I worked there for some 14 years teaching, making my own music, assisting other composers and making incidental music and sound effects for various radio programmes, on the Synthi 100. I also wrote a comprehensive manual for the Synthi 100.
Paul Pignon
In about 1984 I produced a composition called “Mechanical Cartoons” and then one called “Play Me” where I began to develop what I now call Zoetic Engines. Essentially I make use of the vast number of patching configurations which the unique patch bay contruction of the Synthi 100 enables to create very unstable and reactive patches (circuits), which I since recently have begun to refer to as “creatures”. They can also be made sensitive to external stimuli; in the piece “Play Me” I was interacting with them via a microphone, playing the clarinet.
In 1986 he moved to Sweden, composing and developing computer music software at Elektronmusikstudion (EMS Stockholm). Member of FST and Fylkingen. Producer at Fylkingen 1988-1992. Active as composer of electronic and instrumental works and real-time composer on single reeds, didgeridoo, recorders, voice, laptop. Currently with BOP, BONON, 2+(with Liisa Pentti), Free Speech, The Great Learning Orchestra, and other ensembles in Sweden and abroad.
Currently chairperson of SEAMS and until recently 2nd vice-chair person of Fylkingen.
Miguel Frasconi is a composer and improviser who has created through-composed operas, ensemble music, scores for modern dance, and also performs concerts of improvised music, both solo and ensemble.
Miguel specializes in 20th and 21st century repertoire music, and has been playing experimental glass instruments for over 45 years. He also plays keyboards, but these days in addition to composing, he likes to improvise on modular analog electronics, most often controlled in other ways than using a keyboard.
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