(2005, revised 2011)

: horn and surround sound
Created in collaboration with Josiah Boothby

Drawing by Tess Orozco  

  For other concert performances and recordings of Minotaur, click HERE...


Electronic layer was realized in ambisonics by Ewa Trębacz at DXARTS, University of Washington, Seattle.


September 20, 2005
48th International Contemporary Music Festival "Warsaw Autumn",
The Highest Voltage Hall, Warsaw.

Josiah Boothby, horn (tape)
Henryk Kaliński, horn (live)

Download Program Notes (pdf)

How to practice and perform "Minotaur"...

Electronic layer (surround)

  • The electronic layer (TAPE) was created in a series of ambisonic recording sessions, in collaboration with Seattle-based horn player Josiah Boothby. Josiah and I visited several indoor and outdoor spaces throughout Washington state. Using the SoundField microphones and ambisonic recording techniques we were able to fully take advantage of the unique acoustic properties of these spaces.

  • During these on-site recording sessions, Josiah walked through the spaces and improvised several short sound sequences, utilizing extended horn techniques and right hand coloration. We listened to the responses of these spaces and looked for the most acoustically interesting paths.

  • This original sound material was further processed and combined into a sequence of soundscapes.

Live performance

  • "Minotaur" gives the soloist an opportunity to fully demonstrate their virtuoso skills. It requires both imagination and courage to freely approach the pre-composed material, and to create a unique conversation between the pre-recorded soundscapes and the performance space.

  • The formative principle of this piece is heterophony combined with "directed" (guided) improvisation and the creative use of extended horn techniques. The written score is a selection of meeting points between the pre-recorded surround sound material and the live performance. The soloist is encouraged to wander off the musical material written in the score. The player should enrich it by freely utilizing right hand coloration, articulation changes, microtonal melismas and ornaments, while carefully listening to and interpreting the responses from the performance space.

  • If possible, the soloist should walk through the space and at times become invisible, haunting the perimeter of the audience and occasionally leaving the space enclosed by the speaker array.

How to practice and perform "Minotaur"...