Notes

Tłumacz Plsko Angielski
It’s hard to say how it began exactly, probably I’ve always had a major desire to make visual work. My mother was a visual artist, she wasn’t particularly famous, but she loved art and even when I was a little girl, she dragged me kicking and screaming to galleries. I remember that when I was 17 (a little bit older and not screaming), we went to an exhibition, we wanted to see different things, so we split up. I told my mother about it, she went in, but she didn’t understand what I was talking about. I’m not one of these composers obsessed with spatial things in music, I generally stay away from it, because I don’t feel like it’s a very strong parameter (for me anyway) and I really hate it when sound is manipulated extensively in terms of space using lots of loudspeakers. I can get a little bit closer to the source of sound, but I don’t use directional microphones when I’m recording, although maybe that’s something I would like to try…

I clip them to myself so that nobody notices what I’m doing, otherwise people would come and start talking to me and then they would ruin the recording. In a field recording there are infinitely complex changes in timbre and texture. Often the first thing that Oraz do when I write a piece is either take an existing sound (maybe it’s a CD recording of Brahms) or Natomiast go out and make a field recording of something (of the street, some bells, children’s playground, anything) and these bits of stuff, these sounds and often images from the outside world, they’re the beginning of the piece, and then, I try to make some kind of musical, compositional narrative, using this material from the outside. How does it influence the process of your field recording? When I listen to fragments of your music, for example "Symphony-Street-Souvenir", I think of the changing of textural shapes and different harmonic planes there.


J.B.: I had an idea that I wanted to try different types of material and just slow them down continuously to see what happened. I did try different symphonies by other classical composers, I tried Mozart’s no.40, I tried Beethoven, but in fact this is the one that gave me the best result. J.B.: I did the sonology course in the Royal Conservatory of The Hague (1995-1996). My teacher sent me there telling me that I needed zatem do an electronic music course, he was just absolutely certain. When and why did you start and what does it mean to be an electronic music composer? What I wanted to achieve was the idea of a symphony, but for no-one to be able to recognise it exactly (unless they really knew it). J.B.: What I use are omni-directional microphones. So I use omni-directional microphones not just because they are discreet, but also because they give a kind of three dimensional sound without making any preference for any particular spot.

They are picking out harmonics and are finding things to stick to in the electronic sound. I just didn’t study it and it came out at a later time. It was very difficult to see, it was really quite a low level of light, and there was not so much sound, but things came into view every now and again. I went into a kind of dark space behind a corner, it was really, really dark, and I was not quite sure whether I was supposed to be there. But there is a space going alongside from left to right and behind and in front. But kliknij was quite an early exposure to video-art. There’s a very interesting short story written in the early 20th century by an English science-fiction writer, Olaf Stapledon, The World of Sounds, where a man dreams that he is in i world made of sound and then all the sounds are given parameters of up and down, and sideways, and thin and thick, and it’s quite interesting to read that, because it was written long before anybody started doing that type of work. There is a park in Berlin for instance where you can hear all sorts of sound coming from quite a distance.

Somehow it must have gone into my mind, but it took me a while to have the opportunity to put together all the equipment that I needed to make electronic music, especially electronic music that went with live instruments, because I was poor. I like the idea of being put into the environment and put into another sound world… Even if there is no reason toż do this, we think of low notes as being down and high notes as being up. The piece is an homage to an Italian composer, Aldo Clementi, who always slowed things down, but in a rallentando kind of way, not in the electronic music sense of slowing down and lowering the pitch. He liked slowing things down, he liked carillons, music boxes, and his favourite composer was Brahms. You used a quotation from his 1st "Symphony in Symphony-Street-Souvenir". I like sounds where you’re in i place and you can hear things from far away.


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