This piece was written in the memory of one of my favorite composers. It’s one of the very few pieces I’ve written in which I’ve chosen a strict method of twelve tone composition. The electronics here are experimenting with different synchronisation methods with the acoustic material. One of the main compositional questions was: does the relationship to the electronics change drastically if the material is in amorphous time compared to striated time? The piece is also based on a 12-tone cypher which is brought into many different iterations.
Supported by Norway’s Arts Council
Recording coming soon!