Liquid Crystal, an 18-years perspective

‘Liquid Crystal’ (clarinet and live electronics) from 2000 has been given a facelift with a MaxMSP7 update, and ‘performer controls all’ live electronics / score. This 2018 version is ready. Very happy that my early live electronics pieces are still being performed!

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‘Portals’ receives the Special Mention for the “Electroacoustic music” section in the Finalists of the XII International Composition Competition “Città di Udine”!

So very pleased that my composition ‘Portals’ received the Special Mention for the “Electroacoustic music” section in the Finalists of the XII International Composition Competition “Città di Udine”!

Portals is composed in stereo – a format that I haven’t composed directly in for 18 years. The work was create as a demo for EAU’s Virtualmonium and as a class example of classical acousmatic composition techniques that I could easily pick apart for my composition students.

Concert in Udine, Italy in October, which will be the public world premier, unless an opportunity comes up in Norway first.

Sagittarius A* – premier 5th Oct. 2017

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‘Sagittarius A*’, for violin, ambisonics and live electronics will be premiered on the 5th October in an EAU concert at Sentralen, Oslo. ‘Sagittarius A*’ was commissioned by violinist Karin Hellqvist and she will be premiering the work over 24 speakers in the Marmorselen, Sentralen, Oslo.

For more information about the work: see this link in my main website

For information about the concert: see the concert listings on my website

Involuntary Expression – premier!

Involuntary Expression is my latest acousmatic composition realised in 6th-order 3D ambisonics.

Premier: 11th September 2017 (19.00). Ultima Festival. Marmorsalen, Sentralen, Oslo, using 3DA’s 24-channel loudspeaker array.

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Involuntary Expression explores music that emerges from the micro-movements of hundreds of subjects. Micro-movements are the body’s small movements that we ourselves may feel, but for a viewer are undetectable. These movements are present in all we do, and can feel significant even though invisible. Likewise, when we watch a musician, we see the larger movements and how they connect to the sound we hear, yet the micro-movements, vital in the control of the sound, are known only to the musician herself. For more information: click here to access my main website

photos from setting up