Christian Dimpker
N. 22 4 × 2 × 8 – Sakrale Interaktionen
Duration: 16'
Solos:
live electronics
N. 22 4 × 2 × 8 – Sakrale Interaktionen
Translation, reprints and more
Christian Dimpker
N. 22 4 × 2 × 8 – Sakrale Interaktionen
Available digitally
Orchestration: Für Flöte, Oboe, Klarinette in B, Fagott, 4 sakrale Räume, 2 Mikrofone, 8 Lautsprecher und Elektronik
Type: Noten
Sample pages
Work introduction
The Sakralen Interaktionen [sacred interactions] are a spatial work. Four wind instruments are positioned in different sacred rooms – a church, a mosque, a Hindu house of prayer and a Buddhist temple. They are pre-recorded and then unite in the concert hall through loudspeakers, the original sounds being electronically transformed and complemented by synthetic instruments. Additionally, the spiritual leaders of the houses of prayer get a chance to speak in movements IV and V. Moreover, in the piece, sounds move through space, in simulation and in reality: the acoustic instruments assume other positions with every new movement, while the synthetic sounds are also realigned and moved. Additionally, the loudspeakers themselves are carried around the concert space, they are swung or acoustically filtered. The instrumentalists barely play in the concert hall – they tread, lift, put as well as complement the speeches by means of rhythmic clapping. Only in the final movement VIII, they play as usual – in unison with the recorded instrumental passages.
What is necessary to perform this work?
Eight different effects or effect chains, respectively, are utilised. They are requested in the score by means of their ordinal number. The numbers are also combined with each other (observe the order). The parameters of these effects are fixed:
1 = 1. Convolution reverb (industrial complex; 2.5 sec.), 2. Delay (87 ms; dry/wet ratio 40/60%; feedback 90%), 3. Delay (85 ms; dry/wet ratio 50/50%; Feedback 95%)
2 = Granular synthesis (explained in the score)
3 = 1. High-pass filter (cut-off frequency always one octave and a fifth above the filtered fundamental*, e. g. for D4 the cut-off frequency is A5 and hence 880 Hz; edge steepness 36dB; quality Q 17); 2. Distortion by bit depth and sampling rate reduction (to 8 bit and from 48000 to 8000 Hz)
4 = 1. Harmonizer (a major seventh lower; feedback 60%), 2. Harmonizer (a tritone lower; feedback 70%)
5 = 1. Convolution reverb (water tower; 8.5 sec.), 2. Phaser (five all-pass filters with – 60°, – 70°, – 80°, – 120°, – 170°)
6 = 1. Flanger (6 ms; amount of variation 55%; dry/wet ratio 25/75%; feedback 70%; LFO 8 Hz), 2. Delay (12 sec. [dry/wet completely audible]; feedback 50%)
7 = Original plus 1. Pitch shifter (wavelets; a quarter tone high than the fundamental*), plus 2. Pitch shifter (wavelets; an eigth tone lower) and all sounds with 3. Convolution reverb (warehouse; 1.5 sec.)
8 = Freely selectable by the interpreters (cannot be changed in the course of the piece)
*In the case of ring modulation, amplitude modulation and frequency modulation, the fundamental tone is the carrier frequency
All instrumentals sounds are recorded beforehand by means of stereo microphones (polar pattern cardioid in xy-configuration, included angle 90°) or, respectively, in movement VIII with a single microphone (also cardioid): the flute in a Hindu house of prayer, the oboe in a church, the clarinet in a mosque and the bassoon in a Buddhist temple. The spaces should preferably be big. The players can either record using a metronome or follow recordings by the other players/the synthesisers. The distance between the microphones and the angle of incidence are re-determined in the beginning of a movement. Hence a new recording starts with this re-determination at the latest. All spoken sounds are notated by means of phonetic spelling, based on the International Phonetic Alphabet. Moreover, each instrumental recording is complemented by a synthetic instrument. They are notated below the respective instrumental system and are played back through the same loudspeakers as the related wind instrument. The piece is performed in a secular chamber. In this performance, all four (stereo) microphone tracks as well as the related synthetic instruments are played back through 8 loudspeakers. In terms of the acoustic instruments, the output level equals the output level (except for movement VII). There needs to be a central aisle between two rows of chairs in the performance space. The instrumentalists move (themselves and) the loudspeakers through the concert hall. Treading noises should be avoided. These actions are notated by means of depictions that complement the recordings. In order to move the loudspeakers through the room, they need to be wireless. Additionally, they should possibly have a linear frequency response. Aside the stairs, there are 4 plastic boxes. They are supposed to be placed over the loudspeakers in the course of the piece and serve as acoustic filters. The interpreters select the boxes according to their acoustic characteristics. The boxes need to enclose the loudspeakers completely. The four instruments (without piccolo) are hanging in the beginning of the piece above the stage. The players need to be able to walk underneath them. In movement VIII, all players jointly walk on stage, take the instruments and play them. The position of the hanging instruments needs to be determined according to the final positions of the players as depicted in movement VIII.