Music Compositions


Orbita

(in progress)

acousmatic music; ambisonic sound
duration xx'xx''

Orbita is inspired by the overview effect - "seeing the reality of the Earth in space [...], a tiny, fragile ball of life, hanging in the void, shielded and nourished by a paper-thin atmosphere." The work centers on aspects of biodiversity, survival, fear, isolation, loss and hope in an existence away from terra firma in order to save life from extinction or to save the planet from destruction.

Orbita will be completed in the spring of 2017. It is made possible with support from the Audio and Visual Fund at Arts Council Norway.


Klanger fra Trøndelag

(2017)

acousmatic music; ambisonic sound duration 5'00''

Klanger fra Trøndelag was commissioned by the Electric Audio Unit for the 100th anniversary of the Norwegian Society of Composers. The work is based on 3-second sound samples of music by members of the Norwegian Society of Composers from the Trøndelag region in Norway, one sample of music per year since the founding of the Society in 1917.


City Flow

(2006)

acousmatic music; stereo sound
duration 1'00''


terra incognita

(2001)

acousmatic music; ambisonic sound
duration 13'58''

The unfamiliar land, Terra Incognita, wherever it may be with its promises of riches and happiness, freshness and opportunities, have throughout the ages attracted adventurers, conquerors and exiles alike. In our time, the need to establish a new home due to forced exile is an equally common reason for moving to a new world as the adventurer's dream of starting afresh with a new hope of wealth and happiness. For the most audacious conquerors, other planets and galaxies have become an increasingly appealing target for exploration. In the fantasy literature, outer space and the depths of the ocean have been settings of choice for human expeditions for a long time. Here, imagination has no restraints as to what the journey brings.

Terra Incognita is a journey to a sonic landscape. It provides a setting which may evoke images of something real or fantastic that borders to the narrative. The work is composed in the ambisonics technique in order to create a three-dimensional sound-sphere in which sounds can move about in any direction, and where full surround-sound environments can be set up. The wide dynamics and the variations in range and speed of movement of the different sound materials in this piece indicate ever-changing situations, sometimes expected, other times not.

Terra Incognita was composed in the composer's private studio and in the studios of the Music Department at City University London, UK.


Trans/Trance

(2001)

acousmatic music; stereo sound
duration

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kernelMotion

(2000)

acousmatic music; stereo sound
duration

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Intra

(1999)

acousmatic music; stereo sound
duration 12'40''

The underlying model for Intra is based on some of the symptoms encountered in different stages of schizophrenia, a condition characterised by fragmentation of mental functions and blurring of fantasy and reality. Difficulty in distinguishing between internal and external worlds is a key symptom, and hallucinations and exaggerations of sensory input are common. Space and spatial relationships among the sounds are central tools in this composition to portray such a state. Environments of internal and external nature are set up, and appear both separately and juxtaposed throughout the work. Transitions between different virtual spaces are guided by the development of the sound material, and take place sometimes gradually, other times abruptly. A wide range in dynamics and density of sounds reflect extremes in sensations experienced from overstimulation on one hand and the desperation for calm and stability on the other. As with the state of the mind, one cannot always anticipate what happens next.

Intra was composed during the autumn of 1999 in the composer's private studio and in the studios of the Music Department at City University London, UK. It received an Honorary Mention in the Métamorphoses 2000 competition in Belgium.


Ebb

(1998)

acousmatic music; stereo sound
duration 10'43''

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Ebb was created in London in 1998 during the grey and rainy summer that never became a real summer. Around the same time there were record breaking temperatures in the USA and disastrous tidal waves in South America. The strange weather and the unpredictable seasons in recent years and possible reasons for this were the inspiration for the piece. It is all in the title. Ebb does not only refer to the water sounds that the work is based on, but it also points to other implied meanings; political, social and psychological. The work deals with regression and decline on several levels, but this is not necessarily obvious on the surface. Ambiguity is created by contrasting beautiful water sounds and drones with distorted sound masses and downward glissandos. There are familiar sounds intermixed with unknown sonic textures. There are natural sounds set up against sounds of human gesture. These are all integrated in a structure that balances on the edge of a narrative. Ebb is a nearly eleven minute long journey that may not really end, but continues into the far distance—with or without the consciousness of its participants.

This work is dedicated to all those who fight against the ruthless exploitation of the world’s natural resources.


(dis)integration

(1998)

acousmatic music; stereo sound
duration 9'53''

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(dis)integration plays with stability and instability, density and scattering, unification and fragmentation, tranquility and disruption, anticipation and surprise, integration and disintegration. The work is based on recordings of percussion instruments – themselves having disruptive potential – that are manipulated both on a microscopic level as well as on a macro-structural level. Residue from the process of fragmenting the source material is magnified, expanded and brought to become carrying elements of the work. Particles emerge and merge, regularity is ruptured by irregularity, and intensity and focus bounces between the temporal and the spectral, all the while hinting at an overall coherency that clarifies as the work progresses.

The source material in (dis)integration is manipulated using a variety of granular, transposition, time stretching and time compression techniques in order to disintegrate the percussive elements into fragments and magnify and re-integrate the fragments into new textures and configurations. It is a highly energetic work with structural elements shaped based on the internal morphologies of the edited source material in ways that both set up and challenge a sense of anticipation and order through disruption and surprise. The work has a wide dynamic range and extensive spatial movement as well as great variety in density, pace and intensity, all designed to be underlined and enhanced using active sound spatialization in the concert hall. Utilizing spatialization techniques that focus on distance, presence, movement, placement and envelopment as well as manipulating intensity, loudness and softness, the spatial and dynamic elements composed into the work are further articulated in order to bring forward spatio-structural components of the work in ways specifically tailored for the space in which it is performed.


..des cantiques

(1997)

acousmatic music; stereo sound
duration 22'16''

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..des cantiques is based on text fragments from the Song of Songs from the Hebrew bible, a collection of poems that has elicited a great variety of interpretations. The composition underlines the dramatic effect carried by the text, and seeks to portray sides of the human psyche that come into play during loss and desolation. The reading of the text, processed and unprocessed, is the main sound source for the composition. The structure of the piece is closely connected to the content of the text; sometimes merely suggesting the drama of the poem, other times more direct in its expression.

..des cantiques was composed and premiered at the Mills College Center for Contemporary Music in Oakland, California, in 1997.

Voice: Sofia Carreras (ESP/USA)


Tromper

(1996)

solo trumpet
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Obelisk

(1996)

acousmatic music; stereo sound
duration

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canticum

(1996)

women's choir a cappella (SSAA)
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Flukt

(1996)

acousmatic music; stereo sound
duration

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Echoes of the Environment

(1996)

vocal music (3 or more vocal performers)
duration open

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Sketch for Clarinet

(1995)

solo clarinet
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aeolus

(1995)

acousmatic music; stereo sound
duration

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ab initio

(1994)

acousmatic music; stereo sound
duration

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Dormi Jesu

(1993)

mixed choir a cappella (SATB)