Sonorous Landscapes was composed using a particular type of Grain-Synthesis. The peculiarity of this synthesis is that you may have so many samples as you which and apply to each one of them different transformations. The common parameters of the Grain-Synthesis so as transposition, amplitude, grain-duration, space, reverb (and so on) may be differently applied to each sample or group of samples. The result is a polyphonically structure that exists in one sole line. This synthesis was implemented with recursive techniques using Lisp/OpenMusic and Csound.
About the interpretation of Sonorous Landscapes
- Landscape I and II are two pieces that should be played together.
- The first piece and the second are separated by a pause of only 4 seconds.
Landscape I 0 - 6:22
Landscape II 6:26 - 12:40
(At the tape the piece starts at 0:10)
- Landscape I is VERY quiet and Landscape II is VERY loud. Try to adapt the general level at the concert room so that both stay at the boundaries of perception – almost nothing, and really loud but without being violent (without hurting).
- You may use a subwoofer at Landscape II to accent the low frequencies at the last 3 minutes of the piece.
- At Landscape II you may reduce some high frequencies if you think it is too aggressive, depending on the room you are and on the mood.
1 (FL) 2 (FR)
4 (RL) 3 (RR)