Mixed and live-electronic pieces

O RECHE MODO 1 (2007)

Music-theatre piece with circus artist Mikkel Stael Nannberg performed at the International 2007 Computer Music Conference in Copenhagen.

Performed at PLEX music theatre in August 2007 using movement sensors and live improvisation.

Original texts by Antonin Artaud.

Video clip kindly provided by Marc Ainger.


O RECHE MODO 2 (2007)

Music-theatre piece with circus artist Agnes Bruun performed at the 2007 International Computer Music Conference in Copenhagen.

Performed at PLEX music theatre in August 2007 using movement sensors and live improvisation.

Original texts by Antonin Artaud.

Video clip kindly provided by Marc Ainger.


Rhythmic study (2006)   for live computer

“…these particular simultaneous tempo relationships. Of course, people haven’t heard it. It hasn’t been done. It couldn’t be done before, and only in electronic music it can be."




(Conlon Nancarrow)

This piece, inspired by Conlon Nancarrow’s studies for player piano, is a study of the possibilities which tempo, as an active component, offers for building different temporal relationships with two independent sequences of synthesized sounds. Stepped and varying tempos are used in this piece to shape a flexible musical experience with different levels of ‘temporal dissonance’.

Fluctu (2006)    for solo percussion and tape

This piece has been an attempt to work with electronic sounds in order to create rhythmic textures that could relate to and interplay with the sound played by the percussion player. The piece is built up as an evolution of different rhythmic transitions where the sounds of the different components of the percussion are contrasted and blended with the electronic sounds, creating layers of movement and fluctuations.


TRAMA (2004)   for clarinet and live-electronics
This piece, which was created for the group Moose Matrix and was dedicated to the Danish composer Anders Brødsgaard, is a study of the timbre of the clarinet and its variations in its different registers. This was done using textures of rhythms from cells of motives from Indian talas as layers for electronic transformations of the clarinet’s timbre. The piece is constructed in two parts, being the first part a gradual evolution of an expansion of the register of the instrument in relation to layers of rhythms that evolve from very long units to percussive rhythmic patterns associated with the three registers of the instrument. The second part of the piece evolves as a contraction of the register of the instrument using this pauses and duration of events as a way to integrate or make distinctive the particular types of registers. The electronics part of this piece was done as way to integrate and transform the timbre qualities of the registers of the instrument associated with rhythmic structures. The use of space is thought to emphasize the idea of speed of rhythmic changes in timbre associated with the registers and the integration of the radiated sound by the instrument and the transformed sound played through loudspeakers.for clarinet and live-electronics.

read article about the realisation of this piece

Impermanences (2001)    for cello and computer
In this piece I tried to explore relations between sound duration and the timbre of the violoncello. Chasing an approach to the temporal attributes that create our perception of repetition and continuity is sequences of sounds, I built-up multiple series emphasizing the asymmetry of the duration of sounds. With no reference but the tempo units for the individual tones’ duration, I created temporal transitions based on the harmonic evolution of the lowest note of the instrument. Considering this distribution of the structure of the overtones I created a resonating filtering process with the computer that emphasizes and diminishes certain higher harmonics. Using this process I tried to use the electronic processes in a way that would enrich the articulation of the instrument integrating them as part of the original sound.


Guitar ex Machina (2000) for electro-acoustic guitar and 4 channel tape
This piece started as a naive attempt to study the role of a musical instrument when interacting with the electronic media. After a short period of experimentation, I realized that the usual role of the electronics as a background or support for the musical instrument was boring and predictable and it would be interesting to switch the roles, ‘mechanising’ the instrument and ‘humanising’ the machine. In that spirit I tried to contrast the human (instrument) and electronic sound  sources (tape) in a game of rejection and integration using the guitar as a framework for both. In this pieces the instrument is the only sonic source for the tape recordings and was used as a multiple source of percussive, melodic, disturbing sounds which were slightly  manipulated electronically to be played through the loudspeakers with  the original instrument live.