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Revolving Circles

By thisisuser on April 20, 2016

for four violins, 3D Sound Object and computer electronics
composed 2016; duration 20 minutes
world premiere April 21 2016 at Judson Memorial Hall, Manhattan, New York
Patti Kilroy, Sabina Torosjan, Earl Maneein and Joshua Henderson, violin
Paul Geluso, 3D Sound Object
Lars Graugaard, computer electronics

The piece uses the players’ spatial layout in the performance space in a concurrence with the three-dimensionality of the 3D Speaker’s sound diffusion to suggest an enriched 3D audio-physicality experience. The novel sound diffusion technique can be approached both for performative and for installation purposes, so the challenge that Revolving Circle addresses is how to carve out an inclusive middle-area between the two. This reality revealed a number of propositions for the piece – that the players be mobile, that alternative and extended playing techniques be used throughout, that the duration of the piece be substantial, that the space governed the material selection, that the audience moves freely and intermingle with the players. It also opened up to subjective suggestions about playing dynamics as well as the materialistic aspect of a playing action on a micro-level that emphasises sensorial sound qualities such as of tapping, sliding, rubbing, scraping, stroking and knocking and so forth.

4 violinsThe piece is laid out so that the players are to perform in four different material categories – playing techniques – as they move independently in circle selections around the 3D Speaker. Their movement is intercepted by two diagonal lines that trigger short, individual events from the players of ‘impossible attempt’, always the same. The playing is processed and intermingled with computer electronics as the piece develops, and this turns the 3D Speaker’s sonic body into a fabric that is woven by the players through a veiled connection of tiny, lace-like audio filaments. The players catch and extend the sound, pulling the audio out of and away from the 3D Speaker, at the same time providing the temporal foundation and the sonic surface of the piece.

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