The following are reflections based on an interview with conductor Halldis Rønning conducted shortly after the Trondheim Sinfonietta’s Nordic Tour.
Halldis conducted all the performances of Kuuki no Sukimaat concerts in Harpa in Reykjavik, Iceland, Nordic House in Torshavn and Christian’s Church in Klaksvik, Faroe Islands, and Schæffergården in Copenhagen, Denmark.
The conductor’s art of conducting is one of the main focal points of the ConDiS project. Therefore, the interview with Halldis is a critical component in the ConDiS artistic research process and in prompting reflections on the project.
Video recordings are used since transcribing these dynamic interviews in writing would not capture them sufficiently or do them justice.
What is your opinion about the idea of expanding the conductor role by conducting the electronic sounds?
Video example #31: http://caveproduct.com/videos/1.idea-of-ConDis.mp4
Is there an artistic need?
Video example #32: http://caveproduct.com/videos/2.artistic-need.mp4
Controlling more than sound?
Video example #33: http://caveproduct.com/videos/3.adding-video.mp4
The threshold of complexity?
Video example #34: http://caveproduct.com/videos/4.too-much-info.mp4
What does the conductor do differently with the music when able to conduct the electronic sound as well as conducting the traditional way? Is there a feeling of fusion of the roles of the conductor and performer?
Video example #35: http://caveproduct.com/videos/5.What-C-do-dif.mp4
How does the conductor feel using the ConDiS, does it feel natural toward her way of conducting?
Video example #36: http://caveproduct.com/videos/6b.feel-of-tact.mp4
During the “Nordic Tour,” performances took place in different “concert” halls with different placements of the ensemble.
- Did a different location of the loudspeakers make a difference?
- Did a differently resonating hall make a difference in the performance?
- Ensemble located on stage behind the front speakers. (Harpa)
- Ensemble located on stage with front speakers on their sides. (Nordic House and Christian’s Church, Klaksvik)
- Ensemble located on stage with front speakers behind. (Copenhagen)
Video example #37: http://caveproduct.com/videos/7.0.Loc-of-spker.mp4
Video example #38: http://caveproduct.com/videos/7.II.res-diff-loc….mp4
Did a different resonating hall make a difference in the performance?
Probably the piece benefits from some space.
Video example #39: http://caveproduct.com/videos/7.I.res-diff-hall….mp4
How can I improve the Conducting Glove “ConGlove”?
Video example #40: http://caveproduct.com/videos/9.Pturn-and-Glove….mp4
What musical parameters should the conductor be conducting? Volume, tempo, spatial sound location etc.…
Adjusting the parameters?
Video example #41: http://caveproduct.com/videos/9.II.adj-param.mp4
About adding new parameters: Panning control?
Video example #42: http://caveproduct.com/videos/9.III.pan-ctrl.mp4
Leave it for the next piece: A concert for conductor, video, and orchestra.
Video example #43: http://caveproduct.com/videos/9.IV.next-piece.mp4
The written musical score?
The complexity of the score and writing of electronic sound information?
Video example #44: http://caveproduct.com/videos/10.I.cplex-score.mp4
Is there a need for visual aid such as iPad screen etc.?
Video example #45: http://caveproduct.com/videos/10.IV.screen-aid.mp4
The anxiety of receiving an overload of feedback.
The danger of Feedback.
Video example #46: http://caveproduct.com/videos/11.fbck_dngr.mp4
The danger of Feedback, part 2
Video example #47: http://caveproduct.com/videos/11.II.fbck_dngr2.mp4