"Seven Blues" uses recordings with a connection to time and place.  Sounds of nature, cities, historical cites.

"Seven Blues" is composed for binaural listening using headphones.  Make sure to wear a good set of headphones when listening!

The video part of of "Seven Blues" consists of fragments from Moritz Nachtsterns book: "Falskmynter i blokk 19".  Nachtstern was a Norwegian jew, displaced to Sachsenhausen during world war II.  He originally worked as a typograper, and the nazis set him to counterfeit British pound notes, to be spread over England and destroy the English economy.

Seven Blues

Sonata IV explores various machine-learning techniques put to use in composition work.  Artifical Creativity might be a relevant term.

Please contact me if you need a full-resolution 5th-order Ambisonics-version for concert productions.

The 4th and last section is dedicated to the ongoing resistance to the Russian invasion of Ukraine.

Big thanks to singer Silje Marie Aker Johnsen!

Sonata IV

Sonata IV (binaural version, for headphone-listening)

“Lost Faces”
 

        I live in a big city
        from my house - a walk
        along streets passing
        corners where paths meet
        Further towards the center
        busy atmosphere
        going inside
        sitting down
        at times distracted
        looking out
        from the neck and down
        never sleeping
        no faces — no faces
        never faces


The absence of an expected object, person, plant, or animal in a picture, or the absence of all pictorial representation may also represent the holy or divine.

“Lost Faces” explores some musical possibilities of objects without any clear physical appearance.

This music was made with CM/CLM software on SGI-workstations.

Lost Faces (1996)

Work for percussion, dancer and live-electronics audio & video.  Live recording from Henie-Onstad arts Center; performers: Eirik Raudi (perc.), Inger Malene Glette (dance, live-electronics.)

Om bading i Biscaya is an extremely physical and rhythmic perfomance where the good old Natural Laws are challenged by the force, structure, sounds and movements emerging from a percussionist, a dancer and live-electronics present before the audience.

The artistic material in the programme helps to construct a virtual universe with dynamically changing laws of nature. The laws constitute forces, obstacles, structures of energy the performers relate to in their efforts to perceive, control, manipulate, challenge - even obey at times - concepts such as time, gravity, friction and heat.

The performance uses various kinds of sensor-technology to control the acoustic and visual situation on stage.

Om bading i Biscaya - III, snare drum (2006)

Om bading i Biscaya - II, vibraphone (2006)

Om bading i Biscaya - I, un-pitched percussion (2006)

The title ”Coil“ suggests something about the construction of the work.  The piece attempts to lead the listener on a travel which unravels present and distant perspectives on space and time.  This modeling of space has been a fascinating experience for the composer. How various aspects of sound — spectral aspects, and placement in time and strength — gives a constantly pulsating experience of space for the listener.  The piece tries to pass a thread through space — at times close, at times distant.

”Coil” won a price in EBU's International ROSTRUM for Electroacoustic Music 1996

Technical stuff:

”Coil” was composed in 1996.  All work is done with CLM, a powerful DSP language made by Bill Schottstaedt at CCRMA.  Amongst the techniques which have taken part in forming the piece are various types of cross-synthesis, modulation and granular signal processing. These techniques aid in forming the piece by threading out musical characteristics, notes and phrases, from some thing which originally was a collection of dull noise-type sounds. The composition is a playing on the borderline between noise and tone.

Coil (1994)

As with many of the songs, writings and parodies based on it - this version of “I Dreamt I Dwelt in Marble Halls” has only a tiny little bit to do with the original aria of the same name from Michael William Balfes opera.

Balfes gypsy girl dreams about a life in the upper class, with riches and luxury.  My piece is also about dreaming, however this dream is even further from reality — not being about anything at all. Nevertheless it takes place in various rooms and spaces, and is full of voices — singing, talking, teasing, shouting, playing and other sound.

Dreams can go on for a very long time, even if they only occur in a brief moment.  The musical manifestation of this dream is also rather short, lasting slightly longer than 5 minutes.  The material is recordings of a choir, the space in la Madelaine in Paris, busy merchants out in the street, synthetic sounds and phrases, large spaces and tiny sheds.  This material is moulded, twisted and bent, and built upon in new combinations.

The original aria is said to bring misfortune, especially if one whistles or sing along in a theater.  Legend has it that it was being played aboard the Titanic at the time it struck the iceberg.  Please notify the composer if you observe any similar reactions to this tune.

I Dreamt I Dwelt In Marble Halls (2015)

The "Triple Point" is a state in nature, where material starts to behave a bit strange.  Water can exist simultaneously as ice, liquid and gas, and minimal influence kan make it change from one state to the other, and back.  Typically, this phenomenon occurs at places human beings normally wouldn't wander, like in the extreme pressures under big glaciers or at the bottom of the largest ocean depths.

This piece of music is an attempt to use sound and acoustic space to provide for the listener a sense of being physically attached to the musical objects.  When the musical state of matter shifts, the listener perceives a similar change.  When the musical matter moves, the audience moves with it.

This work is my first attempt at using Ambisonics techniques in all stages of the workflow - coding, sculpting, selection and composition.  The work will be one in a series of works, which all will explore Ambisonics technology and 3D audio, and exploit the same aesthetical theme.

This work stays rather low in the terrain.

Triple Point - stereo downmix (2012)

The Music Is The Wave UHJ

I'm a composer of various kinds of Contemporary Music, Electroacoustic Music and Sound Art -  exploring sound, space, developments in modern technology.

andersvi

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