Production

A collaboration between Song Circus, Oslo Sinfonietta, Notam, Ultima and Dansens Hus made it possible to perform Landscape with figures II with the planned spatial setup, in a space without fixed seatings. The main stage of Dansens Hus, Oslo, is an amphitheatre with a large stage.

We decided to use the stage part only and close off the amphitheatre with a curtain. This was done by crew at Dansens hus.

Sound setup[1]

Notam provided and rented speakers and equipment. The space was dry, and Cato Langnes placed additional microphones to add some reverb to the instruments, routed to nearest speaker in the outer circle of speakers. The voices were amplified by nearest speakers as suggested by the score. All microphones were used for a 16 track recording of the concert.

o   Stine [Shure Beta 58].

o   Maria [Shure Beta 58].

o   Liv [Shure Beta 58].

o   Anita [Shure Beta 58].

o   Eva [Shure Beta 58].

o   Violin I, bassoon and horn [DPA 4015].

o    Violin II, bass clarinet  [DPA 4015].

o   Viola, oboe and trombone  [DPA 4015].

o   Cello and flute [DPA 4015].

o   Contrabass and trumpet [DPA 4015].

o   Percussion I [pair of AKG 460].

o   Percussion II [pair of AKG 460].

o   Harp [Neumann 140].

o   Celesta [Neumann 140].

o   Microtonal organ monitor [subwoofer mix directly from the organ patch].

o   Soundfield ST350 microphone close to the conductor.

A Behringer 32X mixer allowed a flexible setup.

Lights

Kyrre Heldal Karlsen  was the light designer of the concert, his idea was to connect lights to the spatialization of sound.

16 channels of audio pass through the main electronics setup. Soundscapes are played at the 8 channel outer ambisonics circle. Sound installation fragments and live electronics are distributed through both inner and outer circle, through the DBAP algorithm.[2]

Coordinates with amplitudes of 8 static and 45 moving sources were sent from my computer to the light crew. Amplitudes of sounds were scaled to a useful range controlling intensities of lights.

The light crew hung one spotlight from the roof for each speaker, pointed at the individual speakers. Smoke machines were used to make rays visible.

The microtonal organ and live musicians were not monitored. This called for some improvisation.

The speed of spatial movements and sound events from the electronics did, in my opinion, make this direct connection to light less obvious.