- Year of composition: 2001
- Duration: 13:10
El Cuarderno Del Alquimista was selected at the 1st International Rostrum of Electroacoustic Music (IREM) in Bourges (1984).
Cette pièce multiphonique pour bande est basée sur des enregistrements de sons contenant un élément de mouvement. La composition explore l’utilisation de la spatialisation du son comme facteur déterminant formel principal. Scatter tente d’entourer l’auditeur d’événements provenant de toutes les directions, et qui se déplacent à des vitesses et selon des trajectoires variables. La pièce explore aussi l’exécution multiphonique de synthèse granulaire du compositeur, exécution qui ‘disperse’ des grains acoustiques à travers l’environnement multiphonique. Scatter est une commande du 20e Annual New Music and Art Festival de la Bowling Green State University.
[source: Réseaux des arts médiatiques]
These three miniatures bring together the sounds of Baoding Balls, originating in China during the Ming dynasty and rotated in the palm of the hand for therapeutic benefits, with sounds from Beijing and Kun opera. I imagined the delicate musical chimes encased within the Iron Balls to magically conceal dynamic and theatrical opera sound worlds. Each miniature evokes a different characteristic of these art forms — the ecstatic and acrobatic nature of Beijing opera, the intimate soundings of the more aristocratic Kun opera, and the inherent energy of both. A theme of vibration emerged as I composed the work — naturally evident in and underlying the opera sounds, sonically cultivated from the recordings of the Baoding balls (the metallic points of contact and impact as well as the musical chimes), and developed in unique ways in each of the miniatures. Presented here, the suite is framed by a very brief prologue and epilogue.
Baoding was realized in 2002 at the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered on March 2, 2002 during the Invisible Theatre concert series organized by BEAST (Birmingham ElectroAcoustic Sound Theatre) in Birmingham (UK). Baoding was awarded a Prize in the Trivium Category of the 29th Bourges International Electroacoustic Music and Sonic Art Competition (France, 2002).
Närheter is my first ever commission as a composer. The Swedish Radio asked me to make a text-sound composition so I decided to quit my job at the university and become a full time composer. You have to be young a or crazy or very brave to do that kind of thing but it worked for me… The piece is a sequence of musical images portraying a trip through a landscape of voices an sounds. My idea was to try to create a feeling of the listener seated in an imaginary train looking out at a passing dreamy landscape having these voices creeping into his/her mind. I used some poetic material from two fantastic Swedish poets, Ella Hillbäck (Tolv blickar på verkligheten (12 Looks at Reality)) and Göran Sonnevi (Det omöjliga (The Impossible)). Not having a big budget at hand I asked my friends to do the reading for me although no professional actors. But they did a good work at it and I also had the Göteborgs Kammarkör (Gothenburg Chamber Choir) to sing a bit for which I am grateful for. I also managed to get in touch with the KTH Royal Institute of Technology in Stockholm where they had a vocoder (for scientific purposes) that they kindly let me use. In fact the piece starts off with a rather long introduction using just the vocoder and some post-processing. It took me a full nine months to make the piece and I probably made at least one thousand tape splices to put it all together on a number of tape reels. This was later transferred to a 16-channel multitrack tape recorder that the radio had in one of their new (at the time) studios.
Närheter [Proximities] was awarded the 1st Prize in the Programme Music Category of the 1978 Bourges International Electroacoustic Music Awards (France).