things lost things invisible

: ambisonic space and orchestra

Sound Chronicles of Warsaw Autumn 2007, CD No 8  


Work recommended by the 56th UNESCO International Rostrum of Composers (Paris, 2009). Broadcasts...

A finalist for the OPUS Public Media Prize, Poland

Arturo Tamayo


September 22, 2007
XXI International Expocentre, Warsaw, Poland

K.Szymanowski Academic Symphony Orchestra | Arturo Tamayo and Szymon Bywalec, conductors

Josiah Boothby

Virtual Soloists:
  • Josiah Boothby, horn
  • Toby Penk, trumpet
  • Colby Wiley, trombone


    Szymon Bywalec, Arturo Tamayo and K.Szymanowski Academic Symphony Orchestra at Warsaw Autumn Festival 2007

    Work commissioned by the 50th International Festival of Contemporary Music "Warsaw Autumn" in partnership with the Adam Mickiewicz Institute, Poland.

    Electronic layer was realized in ambisonics by Ewa Trębacz at the Center for Digital Arts and Experimental Media (DXARTS), University of Washington, Seattle.

    • things lost things invisible is a hybrid work combining features of a large orchestral form with a spatial sound installation, exploring periphony. It involves a symphony orchestra divided into groups and a 3-dimensional speaker system to reproduce the electronic layer. The work is a large-scale acoustic experiment, where the entire sound environment is being treated as a body of a one complex instrument (the audience is located inside the resonance box of that instrument).

    • The initial sound material was recorded by the composer in ambisonics during an on-site session in one of the most acoustically unique spaces in the United States: the Dan Harpole Cistern in Fort Worden, Washington State. This legendary space is located underground, on a former military base. It is characterized by a 45-second reverberation time and bizarre sound trajectories.

    • All the initial recordings have been realized with a Soundfield ST-250 ambisonic microphone. The special stress during this recording was placed on the elevation factor: a vertical movement of sound (in this case absolutely crucial, due to the acoustic features of that space).

    • Orchestral parts and the final shape of the entire work have been derived from those recordings, so the spatial features of the Cistern became the major formative principle.