Electronic layer was realized in ambisonics by Ewa Trębacz at DXARTS, University of Washington, Seattle.
March 26, 2011
"Polish Music: The New Generation. With guest artist, David Lynch."
PREMIERE 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)
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.
- "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.