Electronic Frequencies

Since 1964, EMS Elektronmusikstudion is the centre for Swedish electroacoustic music and sound-art. EMS is run as an independent part of Musikverket (Swedish Performing Arts Agency).

Besides making professional studios available for the production of electroacoustic music and sound-art, EMS’ aim is to support artistic development of electroacoustic music and its integration within other artistic areas. EMS represents electroacoustic music from Sweden in various international contexts and sees as one of its main tasks to act as an informer, both nationally and internationally.

Composers in this broadcast are: Lise-Lotte Norelius, Helene Hedsund, Ewert Ekros and Tamas Ungvary.

1/ You are the flower, Lise-Lotte Norelius (a) 00:19:38.
2/ Helene Hedsund: Inuti II (b) 00:09:14.
3/ Ewert Ekros: Vesufanem (c) 00:15.30.
4/ Tamas Ungvary: Ite, Missa est (d) 00:12:03.

Words from the composers:

(a) Lise-Lotte Norelius (1961) has more than 30 years experience as a musician. Established herself early as a percussionist, but has since 2000 mainly been focusing on live electronics. She studied electroacoustic composition at the Royal College of Music in Stockholm 1998-2002 and has since then composed music for speakers, musicians with live electronics, poetry, theater, installations and dance performances. The preference for small, pathetic, comic and ugly sounds, rhythmic structures and long lines often characterize her music, which can be both beautiful, raw and brutal. The last years she has been using controllable motors, home made noisy devices, synth jewelry, vacuum cleaners and floppy drives, for further processing with her Max/MSP software and various effect boxes.
www.lise-lottenorelius.se

You Are The Flower was composed for the Klangdom at ZKM (Karlsruhe) 2014. During my residency I was learning the panning software Zirkonium, which I also used in this work. As an experiment, a few tracks was panned with arduino and simple sensors, recorded in Max/MSP. This work resulted in a very nature romantic piece. I´m quite surprised myself. You may think that the first part is a field recording from the woods in northern Scandinavia and the second part, some kind of strange folk music, inspired of hurdygurdy. Just lean back and imagine for a moment that you are the centre of the world, or the flower on the ground.

(b) Helene Hedsund – Inuti II (Stereo version) December 9 2015, leaf blowing gardeners on William Street in Birmingham, UK, interpreted by a piano frame. The piano was recorded string by string. It plays the data from a partial analysis of the recorded leaf blowing gardeners. The piece is actually an instrument made in SuperCollider. This is a recorded performance. Helene Hedsund is a composer and a programmer, active at EMS (www.elektronmusikstudion.se) since 1994. She is currently doing a PHD at University of Birmingham in the UK.

(c) Ekrosjävlarna (Ewert Ekros) EMS musician/composer utilising Voices and electronic sounds. Compositions transposed to stage in performative spirit.
Vesufanem 15.30 min A minute xistic Dadaesques journey into a voluptuous emotional universe. 2 channel version of an originally 8 channel fixed media channel piece.

(d) Tamas Ungvary : Ite, Missa est – in memoriam Rudolf Maros Ite, missa est- “Go, the mass is over” – ends the mass in the Catholic liturgy. It not only reminds me to the past but also to the future when our life-mass shall likewise one day pass. In this work I utilize for the frst time my real-time compositionsprogram CHOR in its full scale . It allows me to control the analog and digital oscillators of EMS’s (1) like a conductor controls the orchestra. CHoR has been developed over a four year period allowing me intuitively control one of the most important aspect of interpretation, the control of timing, that is, breathing. To exploit the possibilities of the glissando has always fascinated me. Since my frst computer composition (Seul 1972) I have always returned to research its possibilities (Melos 1-3, 1980-X). “Ite, Missa est” is also based upon gliding sounds .
My friend, the noted hungarian composer Rudolf Maros has been a remarkable humanist and pedagogue, for many hungarian composers a father fgure in the word’s deepest sense. I began to compose this work during the last period of his life. He died (1982) before I was able to present this work to him.
(1) EMS stands for “Stiftelsen Elektronmusik Studion”, Stockholm, Sweden.