To whom are we sounding (I-V)
Year 2023 • Instrumentation feedback synthesis + open ensemble • Length 5 mvmnt 30-50 min
I All, at once
II Where does it sound like
III It’s all around us
IV Will I hear you again
V Hello, forever
An early work of speculative spectralisism: an elastic hyper-instrument within which the audience dwells. Performers interpret material drawn from hybrid scores, integrating into a stream of synthesized feedback systems generated by the composer.
Nelle Anderson (soprano); Mattie Barbier (low brass); Rachel Epperly (accordion); Tim Feeney (percussion, bows); M.A. Harms (percussion; bows); Jeonghyeon Joo (haegeum, drum); Eyvind Kang (viola d’Amore); Lauren Martin (bassoon); Mason Moy (low brass); Victor Sintchak (percussion, bows); Tyson Thurston (feedback synthesis)
Note on video: Audio and video ripped from CalArts livestream. Cleaned and edited by TT.
A selection of scores and parts from the debut performance
The system across the top moves in time from left to right, and represents the harmonic pool (pitch classes) from which players choose their pitches. The harmonic pools, as well as the synthesis patches, are constant across subsequent performances. The rest of the score is mutable according to the particular ensemble and performance space. Subsequent movements infinitely forthcoming.
The area below the harmonic pool is split into three sections:
A - transition from the previous movement
B - performance gestures and techniques
C - movement end, and transition into the following movement (attacca)