Music for a Ballet, performed in 1999 – 2000
All notes are created by mathematical algorithms – I call them fractals, because they are created the way nature creates fractals. Even the rhythmical patterns are mathematical algorithms.The freedom is in enacting and dressing up:
- Defining the textures by choosing samplings of natural sounds.
- Choosing tempo, dynamics, effects,
- Choosing articulation from staccato to absolute legato
- Transposing streams of notes.
Pay attention to nr 11. Even here all notes are mathematically generated
- ”Skorpion” Samplings of bassoon-reed noise, samplings of splintering glass, gravel, water drum, bassoon noise
- “Grædekonekaos” Sampling of different voices, bassoon noises, breathing, solos by bassoon,
penny whistles - “Destruktivt Crescendo” Samplings by muted trumpet, voices, splintered glass, noises of different kinds.
- “Begravelse”. Samplings of movements in gravel and pebbles.
- “Cirener” Continuation of 4, sampling of pebbles thrown on different clay pots
- “Kamel” Continuation of 5, Different samplings and solo violin, solo marimba
- “Fagotspektral” Fractal on nature’s overtones. Different bassoon samplings, bassoon and clarinet played as flute
- “Sumo Opera.” Fractal on samplings of different expressions of my voice
- “Mandepumpe” Water drum, bassoon distortion, drums, horns, men’s and woman’s voices. Samples from Wagner’s opera “Walkurie”
- “Raseri” Continuation of 9
- “Forsigtig Omgang” Two independent fractals. One on samplings of trumpet blown clarinet, coffee pot and bassoon. And one blown on English horn
- Ørkemkrig 30.000 mantras chanted in a very fast fractal
- Shofar Horns and bassoon. After 4;30 minutes everything changes. The clarinet solo is the only non-fractal part of the ballet
