| Notice (en) : |
Some time ago Åke Parmerud and I decided to undertake a project where we would swap basic sound materials and compose new works based on each other’s offerings. To guide us on our way we drew up ‘10 commandments,’ or rules, that we should follow. One of these rules was that the materials should be ‘new.’ In the spirit of breaking the best of rules, Åke gave me a vast quantity of material, which to my ears documented his acousmatic music since the early ’90s. In true collaborative style I too broke the rules and decided to supplement this material by plundering Åke’s old music. From this point it was clear that I needed to compose a work suggestive of an exhibition. The visitor enters the music with three pieces — Les objets obscurs (1991), Grains of Voices (1994-95), and Jeux imaginaires (1993) — waiting to be explored. As in an exhibition of sound installations where sound from one installation spills over into the next, in Hommage à Parmerud (The Fabulous Mr P) the plundered pieces become confused and remixed to create clichés, humour, atmospheres, and passages of seriousness. The addition of my own material and sound transformation processes nonstylistic of Parmerud, leads the listener through the music with my ears. For those that know Parmerud’s music these aspects will be clear. For those that are unfamiliar with his work I at least hope to provide an interesting listening experience. Rather than finding a new compositional direction, in Hommage à Parmerud (The Fabulous Mr P) the music hovers at a turning point: looking back into the past of one composer’s work and culminating the end of a stylistic period in my own work. |