Christian Dimpker
N. 14 Utopia (omaggio a Luciano Berio)
Duration: 15'
Solos:
flute
N. 14 Utopia (omaggio a Luciano Berio)
Translation, reprints and more
Christian Dimpker
N. 14 Utopia (omaggio a Luciano Berio)
Available digitally
Orchestration: Für Flöte und Elektronik
Type: Noten
Video
Work introduction
Utopia is the first piece of a series based on Luciano Berio’s Sequenza-series. They can be considered as a tribute to the composer who influenced me at a young age. In order to create a polyphonic sound experience, the flautist utilises her feet to produce noises. The structure of the piece may be described as interwoven. Many smaller form sections that are connected to each other take turns. Additionally, the piece has an electronic layer. It is complemented by my N. 10 (2013) Sýnthesis, a piece of abstract electroacoustic music. Moreover, the flute is transformed electronically in a similar way as the oscillators in Sýnthesis. By doing so, the two pieces merge, while they are at the same time connected in a flexible way.
What is necessary to perform this work?
The flute is picked up (preferably directly at the flute, maybe additional microphone for the feet) and the signal then transformed by mostly fixed audio effects. The signal is transposed down by a tritone and then modified by means of a ring modulator using sine waves (86 Hz). Additionally, the sampling rate is reduced from 44,100 Hz to 7,350 Hz. Moreover, a delay of 22 ms left and 29.5 ms right with a feedback of 71% is used. The signal is then deprived of its high frequencies by means of a low-pass filter with a cut-off frequency of 1,100 Hz with a low Q and 24 dB/octave. Furthermore, a convolution reverb from a cathedral with 3.2 sec. reverberation time and a pre-delay of 3 ms is utilised. The effects transform the signal by 100%, while they dominate the original signal in the concert hall. The parameters not mentioned here may be edited freely by the interpreters. Finally, my N. 10 Sýnthesis is additionally played back as defined in the score. The flautist plays freely along. One just has to consider that the pieces end quite closely to each other. Both pieces are supposed to merge. Therefore, the loudspeaker piece can be adjusted. Additionally, so-called bit strokes are used. This means that at the point designated in the score, the bit depth is turned down to 1 very quickly and instantly back to the normal rate.