WERKE
continuous open flux (2009)
Solo Kontrabass,
4 Schlagzeuger,
Elektronik
15’
4 Schlagzeuger,
Elektronik
15’
comissioned by Drumming GP, artistic director Miquel Bernat and Fundação Calouste Gulbenkian
world first performance: February 6th, 2010, 19:00, Fundação Calouste Gulbenkian - Grande Auditório, Lisboa, Portugal
by Edicson Ruiz (solo doublebass), Drumming GP (percussion) and Matthias Ockert (electronics)
produced at ZKM (Center for Arts and Media) at Karlsruhe, Germany 2010
world first performance: February 6th, 2010, 19:00, Fundação Calouste Gulbenkian - Grande Auditório, Lisboa, Portugal
by Edicson Ruiz (solo doublebass), Drumming GP (percussion) and Matthias Ockert (electronics)
produced at ZKM (Center for Arts and Media) at Karlsruhe, Germany 2010
The title „continous open flux“ is a term from the essay „intertwining“ by the american architect Steven Holl. This text has a strong sensual impact on me and inspired me to write a cycle of different compositions, like stretto for 8 channel-tape, „porous horizons“ for saxophone, accordion and violoncello, „fluid space in motion“ for piano trio, „torsion“ for saxophone and electronics and „tectonic landscape“ for 12 percussionists.
One main idea for the piece „continuous open flux“ was to use the spectral delay technique from electronic music to use as a compositorical approach: The percussionists take on "filtered" and transformed parts of the doublebass and vice versa to generate a forward moving intertwining of the musical energies.
The electronics consist of stereo samples that are live triggered and controlled along the score. There are two kinds of sounds: noise and harmonics to "open up" the spectra of the acoustic instruments. They were all generated by a computer wavetable synthesis.
One main idea for the piece „continuous open flux“ was to use the spectral delay technique from electronic music to use as a compositorical approach: The percussionists take on "filtered" and transformed parts of the doublebass and vice versa to generate a forward moving intertwining of the musical energies.
The electronics consist of stereo samples that are live triggered and controlled along the score. There are two kinds of sounds: noise and harmonics to "open up" the spectra of the acoustic instruments. They were all generated by a computer wavetable synthesis.