The first two noise circles are composed on top of two existing Gamelan Ravel fragments from the sound installation. Voices and strings form the most complete inner and outer circles within the setup.
10 live parts form a polyphony of 2 parallel spatial trajectories, a flux within multiple rotations through the room.
Example 67: BC Noise circles 1
Roles are inverted; electronics have the most pitched elements, while live voices move through nuances of noise. For the strings, the Noise circles are like etudes of multidimensional performance, with the bridge clef also used by Helmut Lachenmann.1 Polyphonies of playing techniques on a single instrument have been taken to larger extremes by Klaus K. Hübler. The bridge clef was chosen as the visually most clear notation for the Noise circles.
In BC Noise circles 1, bowings are vertical; lightly brushed or heavily pressed.
In CC Noise circles 2, all bowings are circular, with lights sounds of friction, while pitches are in continous flux.
DE Noise circles 3 is for voices only. Delayed choir harmonizations on the parts of Anita and Eva expand the vocal ensemble towards the bass register. The fragment is accompanied by heavy rain, until the end of Landscape with figures II.
It is fairly new to me to follow a single structural idea though a whole movement. Ad hoc bubbles would rise and fall, new problems were to be solved for every bar. Some fragments from Landscape with figures II are in this sense less fragmented than my past works.