for two voices and electronic playback. This recording performed by Angela Rademacher-Wingerath & Magdalena Schrad on 14 june 2005

CAT# (YEAR COMPOSED): #61 (2001)
INSTRUMENTATION: two voices and electronic playback
PAGES: 5
DURATION (APPROX): 7’58
PUBLICATION:
PREMIERE PERFORMANCE: Rebekka Uhlig & Juergen Neubauer during “Ursprung” (experimental music theater) in the Kleiner Wasserspeicher, Berlin Prenzlauerberg during the Festival ‘Reservoir V’, 2001
Note The composition of mine titled Divergence, refers to a graphic of weather divergence in which miniscule irregularities in the initial conditions become responsible for potentially large changes. In this composition, the divergence is applied in two ways: 1) to sound production of the two live voices focused on nonlinear procedures, and; 2) through a realization of an actual weather simulation that was applied to electronic sounds. The work was realized at the TU-Berlin.

Note2
Review after a performance on 2015_11_21 by Argenta Walther & Stephanie Aston. The event titled “People Inside Electronics” presented the contemporary vocal chamber ensemble Accordant Commons in a concert at the Neighborhood Church in Pasadena, California, “Divergence by Michael Edwards Edgerton followed and this was performed by Stephanie Aston and Argenta Walther. High, bird-like sounds mingled with a low rumbling from the electronics and this soon took on a more frighteningly aggressive character reminiscent of the distant howling of wolves. This increased in savagery as well as loudness, with scratching and baying that gradually morphed into a series of pure pitches that increased in frequency – like a spaceship taking off. These were the result of a weather simulation applied to electronic sounds, a process that allows, according to the program notes, “miniscule irregularities in the initial conditions [to] become responsible for potentially large changes over time.” Low, raspy moaning was added and this made a nice organic contrast with the sterile sine waves. Towards the end, the relatively benign tones in the electronics became a series of explosions, as if some battle was occurring. Divergence is an evocative metamorphosis in sound between earthly, natural elements and remote cerebral coolness.” (Review on Sequenza21)

#61. Divergence_3m50-End

#61. Divergence_1m50-3m50

#61. Divergence_0-1m50

Michael Edgerton is an active composer with performances around the world. His compositions have received international prizes and recognition including the important German award, the Kompositionspreis der Landeshauptstadt Stuttgart for his composition the Tempo Mental Rap, a series of six variations for guitar based upon a Steve Vai transcription of a Frank Zappa rap. Michael’s compositions utilize a broad range of musical influences such as European avant-garde, American experimentalism, progressive rock and world music. Since the mid-90s Michael’s compositions have been informed by scientific models and metaphors. Initially stemming from his studies with voice science and dynamical systems, he’s built a body of work that explores the integration of nonlinear concepts applied to sound production and compositional constraints. While the methods and systems he develops are often influenced by science, it is his intuition – his ear that gives birth to the music.

Michael is currently working as Professor of Artistic Research at Lund University/the Malmö Academy of Music in Sweden.

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