Track listing detail

Interiors and Interplays

Erik Mikael Karlsson

  • Year of composition: 1994
  • Duration: 15:00
  • Instrumentation: fixed medium


It is not possible to describe a piece with a few words. Especially when the piece has many ideas as approaches rather than just one. Some of the compositional ideas run parallel, some arise fragmentary, some are tied together and some exist independent from the rest. Dialogues and contrasts contacts and disclaimings embrace each other between the real and the imaginary, where gestures, poetry, timbre and acoustics create an unspeakable longing for beauty.

[source: Réseaux des arts médiatiques]

The piece was a commission from the Swedish Broadcasting Corporation as a gift to celebrate EMS 30th anniversary in 1994. The premiere took place on live broadcast from the Berwald Hall at the Radio House in September 1994. Interiors and Interplays was produced in studio 1 and 3 at EMS in Stockholm and at studio 9 at the Swedish Broadcasting Corporation.



Luigi Ceccarelli

  • Year of composition: 1995, 2011
  • Duration: 9:00
  • Instrumentation: bass clarinet and fixed medium


This text is unavailable in English.

Pour clarinette basse et bande comportant des sons de clarinette basse et chant d’oiseaux. Birds a été composée en 1995 à l’occasion du festival Musica de Strasbourg (France) et interprétée pour la première fois par Armand Angster. L’œuvre est basée sur une précédente composition pour bande solo réalisée en 1992 et faisant partie de la pièce de ballet Naturalmente Tua, produite par l’Altroteatro Dance Company, avec des morceaux sonores du clarinettiste américain David Keberle. Birds se compose de quatre parties: la première et la dernière partie utilisent les ostinatos rythmiques basés sur la même hauteur que la clarinette, variant en densité et en timbre de deux à quarante parties superposées. Dans la seconde partie, l’ostinato de clarinette et les rythmes élémentaires du chant des oiseaux se superposent afin de créer des chevauchements complexes. La troisième partie utilise des tremolos de clarinette basse de vitesse variable. Les quatre parties sont séparées par de courts solos de chant d’oiseau élaboré. Tous les sons ont été traités en enregistrement numérique et édités sans en changer les qualités naturelles. Birds a été réalisée au studio Edison de Rome.

[source: Réseaux des arts médiatiques]



Klang, Kar, und Melodie

Mark Wingate

  • Year of composition: 1996
  • Duration: 7:30
  • Instrumentation: fixed medium


Klang, Kar, und Melodie depicts a day in the life of an Austin, Texas commuter. So why the German title? It is a bad pun on the musical term “Klangfarbenmelodie” coined by German composer Arnold Schoenberg which means literally: “Sound-color-melody”. German intellectualism aside, this piece is a hallucinatory journey through the congested arterial streets and back alleyways of an American city near the end of the millenium, as well as a glimpse into the inner psyche of a human being forced to navigate through such chaos. It starts innocently enough during a sunny morning on a downtown Austin street corner. What follows however, belies the state our modern, urban, mechanistic society, and in the United States at least, many people’s utter dependence upon the “automobile” for their very existence.

[source: Réseaux des arts médiatiques]

Klang, Kar, und Melodie won in 1996 the Prix de la musique électroacoustique de caractère at the 23rd International Electroacoustic Music Competition in Bourges, France, and an Honorable Mention at the 1997 Prix Ars Electronica in Linz, Austria.


They Wash their Ambassadors in Citrus and Fennel

Jon Christopher Nelson / Robert Gregory

  • Year of composition: 1994
  • Duration: 12:40
  • Instrumentation: mezzo-soprano and stereo fixed medium
  • Commission: Joan La Barbara
  • ISWC: T7001148081




Jonty Harrison

  • Year of composition: 1995
  • Duration: 15:18
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: BBC, Birmingham City Council
  • ISWC: T9104035736


ISRC CAD500014150

Sorties (Exit) was composed as part of Web, a collaboration between seven BEAST (Birmingham ElectroAcoustic Sound Theatre) composers and graphic artist Lorne Christie. Web was a ‘sound sculpture’ — a walk-through installation in an open-sided canal-side warehouse. The work as a whole evoked images of the elements (air, earth, fire and water) and of a journey — enhanced by the movement of the audience through a continuously varying visual and sonic landscape.

This idea of traveling from one sonic location to another underpins the evolution of Sorties which, as well as forming part of Web, was designed as an independent work. The title has two meanings: firstly ‘sorties’ is a term used by air forces for missions, usually over enemy territory. Whether the aircrew will return home from such an operation is, by definition, in doubt. The second meaning is manifest in the dominant sound image of the work: that of leaving (exiting, escaping, fleeing) an interior space for an exterior one, only to find that one is mysteriously and inevitably trapped once again in another ‘interior.’ The ultimate impossibility of escape may thus account for the predominantly dark and brooding atmosphere of the work.


Sorties was realized in 1995 in the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered at the Bond Gallery in Birmingham (UK) during the performance of Web on May 26, 1995 during the Music Live ’95 Festival organized by the BBC. Web was commissioned by the BBC and Birmingham City Council. Sorties was awarded a Prize in the Programme Music Category of the 1996 Bourges International Electroacoustic Music Awards (France).


  • May 26, 1995, Web, Bond Gallery, Birmingham (England, UK)