Appendix B

Questions and answers – Performers

Marianne Baudouin Lie, cellist:

What is your opinion about the idea of expanding the conductor role by conducting the electronic sounds rather than a sound engineer? Is there an Artistic gain?

I think that it feels more like the electronics are also a part of the performance within the ensemble, maybe more than if it was steered from outside. It also gives an extra tension as to whether or not everything works, and I find myself listening to hear if the electronics are there. I do get a bit distracted by the glove and worrying about it working, but that might be because this is a prototype and things have in some instances not been working, or the levels seem uncontrollable. It is almost so I would have wished for the composer to have a small console to see how the levels were behaving. But at the same time, I didn’t think the distraction made the performance less concentrated, it was more like an observation.

With the conductor being able of controlling the electronic sound as well as the acoustic. Does that change your perception of the conductor’s role?

Well it makes me pay attention to the things she does with the glove and I’m impressed that she has learnt to use it as well as concentrating on everything else in the score.

How does it feel watching the conductor using the ConDiS? Is it “natural”, confusing or distracting when she moves the conducting glove?

It is somehow a bit distracting with the glove because I keep wondering if anything is going to go wrong, or if she will push the right button. Or what happens if the battery actually falls off etc. I’m also very aware that she has to change her main conducting hand, but this does not bother me.

Should additional information about the electronics be written in your musical part such as reverb and delay? Is less more? Anything else?

I do not feel that I need more information about the electronics as long as I’m not in charge of steering anything.

During the “Nordic Tour” performance took place in different “concert” halls with different placements of the ensemble.

Did a different resonating hall make difference of the performance?

Yes I think so, or maybe it was that the electronics were given more reverb. I felt like a room with more reverb created a better unity of the acoustic and the electric sounds.

Did a different location of the ensemble make difference for you? Can you describe the difference?
Ensemble located on stage behind the front speakers. (Harpa)

Here I could hardly hear the electronics and it felt a bit like not being part of the work, like just being “the ensemble” and not inside the music. I was also uncertain as to whether the audience were hearing enough electronics.

Ensemble located on stage with front speakers on their sides. (Nordic House and Christians Church, Klaksvik)

This worked better, but I still felt that either the levels were a bit low or that I just couldn’t hear the electronic part. But I know Rasmussen was very happy with the work in Klaksvik and thought the acoustic in the hall and the electronics created a good unity.

Ensemble located on stage with front speakers behind. (Copenhagen)

Here we felt like a part of the entire work, and I think this affects the way we play and the way we imagine the music. So, I think this is the best location of the speakers – keeping both the ensemble and the audience inside the circle of sound. I think it is then also easier to give more as a performer.

Can you describe your personal experience during the concert performance?

I had difficulty trusting the sound I was hearing, which is difficult being an acoustic musician used to orientate everything from what I hear around me. This felt better when the ensemble was within the circle of sound. I could also not let go of worrying about something not working, but maybe it is always like that with acousmatic/ mixed music? I enjoyed playing when I could hear the effect the music was creating, feeling like a small part in a big mix.

Peter Hatfield, French Horn player:

What is your opinion about the idea of expanding the conductor role by conducting the electronic sounds rather than a sound engineer. Is there an Artistic gain?

I think it has possibilities. We talked about Boulez “Répons”, but I´ve only heard that on TV or on CD, never live, so I´m not sure how reliant Boulez was on his sound man. As Halldis, or any conductor did this or any other piece involving the glove, I guess they would become more creative with it.

With the conductor being able of controlling the electronic sound as well as the acoustic. Does that change your perception of the conductor’s role?

Not really. The actual “Conducting” part of the job was relatively simple: If one found a way to use the glove in Répons, which I far more complicated, with many fast time changes (5/16 – 7/16 – 3/8 etc.) it might change rather more.

How does it feel watching the conductor using the ConDiS? Is it “natural”, confusing or distracting when she moves the conducting glove.

This is a continuation of the previous question. There is a danger of mistaking an expressive gesture in the left hand for something to do with the electronics and vice versa. In “Kuuki” it wasn´t really a problem, but I can imagine it might be in a different piece.

Should additional information about the electronics be written in your musical part such as reverb and delay? Is less more? Anything else?

On stage I didn´t hear the electronics as much as I expected to (at least in comparison to the Harpa performance on You Tube. I was pleasantly surprised when I heard anything, so I don´t think for myself I need more information than I had. There is a danger of “Too Much Information”.

During the “Nordic Tour” performance took place in different “concert” halls with different placements of the ensemble.

Did a different resonating hall make difference of the performance?

I became less and less aware of the electronics as the tour went on. Even more than most performances, the stage is not always the best place to judge the overall effect of a performance. I got the impression that you and Haldis were more careful with the volume levels in the smaller halls due to the danger of feedback, so the overall effect seemed to be less integrated.

Did a different location of the ensemble make difference for you? Can you describe the difference?
Ensemble located on stage behind the front speakers. (Harpa)

Ensemble located on stage with front speakers on their sides. (Nordic House and Christians Church, Klaksvik)

Ensemble located on stage with front speakers behind. (Copenhagen)

One would have expected to hear more of the electronics with the speakers behind the ensemble, but I hardly noticed it at all there (volume levels too low?)

Can you describe your personal experience during the concert performance?

As I mentioned it was difficult to get the whole picture from where I was sat. For myself I was pre-occupied with what I had to do personally and was pleasantly surprised (but I hope not distracted…) when I became aware for the electronics, especially when they were generated by something I had played.

Trine Knutsen, Flute player

What is your opinion about the idea of expanding the conductor role by conducting the electronic sounds rather than a sound engineer. Is there an Artistic gain?

Spennende tilleggsfunksjon for en dirigent. Bidrar til at framførelsen blir unik fra gang til gang.

Translation:

Exciting additionality for a conductor. Continues to make the performance unique from time to time.

With the conductor being able of controlling the electronic sound as well as the acoustic. Does that change your perception of the conductor’s role?

Hun får mer å holde styr på, flere muligheter til å gjøre feil osv. Dvs ikke nødvendigvis en positiv tilleggsrolle.

Translation:

She gets more to keep track of, more opportunities to make mistakes, etc. That is not necessarily a positive additional role.

How does it feel watching the conductor using the ConDiS? Is it “natural”, confusing or distracting when she moves the conducting glove.

Mest forstyrrende egentlig. Særlig fordi hun stadig kommenterte at hun egentlig ikke hadde kontroll på volumet, dvs ikke følte at hun faktisk hadde kontroll på effektene når hun brukte hansken.

Translation:

Most disturbing really. Especially because she constantly commented that she did not really control the volume, meaning she did not actually control the effects when she used her glove.

Should additional information about the electronics be written in your musical part such as reverb and delay? Is less more? Anything else?

Ja gjerne, Fint å vite hvilken effekt som er tilsiktet. Slik kan musikeren også bidra til å optimalisere effektene.

Translation:

Oh, yes, it’s nice to know what effect is intended. This way the musician can also help optimize the effects.

During the “Nordic Tour” performance took place in different “concert” halls with different placements of the ensemble.

Did a different resonating hall make difference of the performance?
1. Absolutt. Først og fremst fordi man tilpasser seg akustikken ift egen dynamikk, artikulasjon osv.

Translation: Absolutely. First and foremost because you adapt to acoustics in your own dynamics, articulation, etc.

Did a different location of the ensemble make difference for you? Can you describe the difference?
Ensemble located on stage behind the front speakers. (Harpa)

Opplevdes som at man spilte mer separert, alene. Akustikken i denne salen var “sterk”, dvs at man kunne spille veldig svak dynamikk og effekter og at det fortsatt bar godt til publikum i salen.

Translation:

Experienced as playing more separated, alone. The acoustics in this hall were “strong,” meaning that you could play very weak dynamics and effects and it still benefited the audience in the hall.

Ensemble located on stage with front speakers on their sides. (Nordic House and Christians Church, Klaksvik)

Denne løsningen kjentes best ut for meg som musiker. Hørte elektronikken og de andre i ensemblet best.

Translation:

This solution felt best to me as a musician. Heard the electronics and the others in the ensemble best.

Ensemble located on stage with front speakers behind. (Copenhagen)

Også ok.

Translation:

Also ok.

Can you describe your personal experience during the concert performance?

Spennende klanger. Litt rart å gi fra seg “kontrollen” over en klang eller en effekt, siden den blir bearbeidet og «fordreid».

Translation:

Exciting sounds. A little odd to give away “control” over a sound or effect since it is being processed and “distorted.”