British composer Peter Batchelor, who specializes in
large-scale multi-channel installations, assembled on
Kaleidoscope (Pogus, 2014)
electroacoustic music originally
"composed for an eight-channel listening environment, the speakers arranged equally in a circle surrounding the audience" in which, in other words, one would
be perceived the same regardless of one's location in the room.
Fissure (2006) is a study of noises that are either catastrophic (like cracking)
or grating (like grinding), but the result is an almost liquid leitmotiv, ,
a sequence of gurgling, cascading, flushing sounds except that it dead-ends
into a cosmic black hole.
Nebula (2012) is built around a periodical rising tide of buzzing drones,
a tsunami that continuously disintegrates and rebuilds and that ends in a
Pulse (2013) is machine music and relatively old-fashioned concrete music.
Fuse (2013) evokes the sense of a haunted
rain forest with its eerie breezes and ghostly whistles.
Arcade (2004) is a tribute of sorts to pinball arcade games, but it ends
up sounding also like the soundtrack to a neurotic stream of consciousness, or
like the existential crisis of a robot.
These pieces are most than sketches, and, in fact, have the substance and the
depth of mini-concertos.
(Translation by/ Tradotto da xxx) |
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