- Year of composition: 1991
- Duration: 10:13
- Instrumentation: 4-channel fixed medium
All sounds in Die zerschlagene Stimme are derived from the human voice and from percussion instruments. These sources were then transformed with the help of customized computer programs. Both sound groups are transformed in six stages. Percussion sounds inherit vocal articulations while voice-sound characteristics are transformed directly into percussion sounds, thus giving speaking percussion and a beating voice. There are several intermediate stages based on the mutual influence of the two groups, ranging from complete fusion to distinguishable distortion.
Originally for four channels, an essential factor in this piece was the ‘composition of space.’ I sought to translate ‘emotional space’ into physical ‘acoustic space.’ Feelings like fear and distress are placed closer than those expressing hope and dreams. The movements of the sounds in the hall have a direct relation to their transformation processes.
Die zerschlagene Stimme was realized in 1990-91 in the studio of Klang Projekte Weimar and first performed in the original 4-channel version on 13 September 1991 during the Festival 4.Tage Neuer Musik (Weimar, Germany). Die zerschlagene Stimme was awarded the Hanns-Eisler-Prize of Radio Deutschlandsender Kultur (Berlin, 1991).
- September 13, 1991, Tage Neuer Musik in Weimar: Concert, Weimar (Germany)
About this recording
Thisstereophonic version was realized in 1991 in the studio of Klang Projekte Weimar (Germany).
- Year of composition: 1987
- Duration: 12:41
Nahe zu fern (near to far), although still audible, however, unclear. Thus distance relates to closeness in this composition for 8 loudspeakers. Within the field of electronic music, composers have always been intensively preoccupied with the characteristics of space. The timbre aspects of space in which instruments sound, and the significance for the perception of musical processes have led within electronic music to the development of numerous techniques suggesting electronically a real acoustic space. In nahe zu fern the characteristics of large spaces in particular are included in the composition. Electronically produced sounds are reproduced over 8 loudspeakers. The sound structures on the tape are distributed among four channels and given an artificial echo so that the listener has the impression of pulsing spaces the volumes of which are constantly changing. This specific way of composing the sonorous quality of space gives rise to a filed of tension between distance and closeness, between presence and blurring which, in this composition, is not only used with reference to the sound structures in this space, but is also a general compositional principle.
[source: Réseaux des arts médiatiques]
- Year of composition: 1992
- Duration: 13:15
- Year of composition: 1994
- Duration: 10:42
- Year of composition: 1993
- Duration: 18:08
- Instrumentation: fixed medium
Cette pièce est construite à partir d’un échantillon de 120 secondes d’un chant folklorique chanté par une chorale de femmes. Des structures algorithmiques ont été appliquées au son en changeant les hauteurs et l’emplacement temporel de certaines portions de l’échantillon d’origine de telle sorte qu’une structure de synthèse granulaire se développe. L’idée de modifier une image sonore de cette manière est d’appliquer une nouvelle structure à une image déjà existante comme un masque placé sur le son. Mais ce masque concerne le temps et la hauteur plutôt que l’espace et la couleur. Cette pièce a remporté le Prix Ars Electronica en 1994 à Linz, Autriche.
- Year of composition: 1992
- Duration: 8:49