Music for a Ballet, performed in 1999 - 2000
All notes are created by mathematical algorithms – I call them fractals, because they are created the way nature creates fractals.
Even the rhythmical patterns are mathematical algorithms.
The freedom is in enacting and dressing up:
• Defining the textures by choosing samplings of natural sounds.
• Choosing tempo, dynamics, effects,
• Choosing articulation from staccato to absolute legato
• Transposing streams of notes.
Pay attention to nr 11. Even here all notes are mathematically generated
1) ”Skorpion” Samplings of bassoon-reed noise, samplings of splintering glass, gravel, water drum, bassoon noise
2) “Grædekonekaos” Sampling of different voices, bassoon noises, breathing, solos by bassoon,
3) “Destruktivt Crescendo” Samplings by muted trumpet, voices, splintered glass, noises of different kinds.
4) “Begravelse”. Samplings of movements in gravel and pebbles.
5) “Cirener” Continuation of 4, sampling of pebbles thrown on different clay pots
6) “Kamel” Continuation of 5, Different samplings and solo violin, solo marimba
7) “Fagotspektral” Fractal on nature’s overtones. Different bassoon samplings, bassoon and clarinet played as flute
8) “Sumo Opera.” Fractal on samplings of different expressions of my voice
9) “Mandepumpe” Water drum, bassoon distortion, drums, horns, men’s and woman’s voices. Samples from Wagner’s opera “Walkurie”
10) “Raseri” Continuation of 9
11) “Forsigtig Omgang” Two independent fractals. One on samplings of trumpet blown clarinet, coffee pot and bassoon. And one blown on English horn
12) Ørkemkrig 30.000 mantras chanted in a very fast fractal
13) Shofar Horns and bassoon. After 4;30 minutes everything changes. The clarinet solo is the only non-fractal part of the ballet