Got recordings from the performance of Kuki no Sukima at the Dokkhuset in Trondheim, November 24th. Only had time to listen to in once and schedule all next week to listen to it over and over to reflect on the outcome. The reflection made is totally in relation to my research meaning that I will focus on the use of ConDiS as an additional composing tool and my use of it. Saying that it will be impossible for me to do so without analyzing my own composition Kuki no Sukima in relation to practical and sonic result. I will have to raise questions related to whether or not the composition is adding to the possibilities the Conducting Digital System is offering. Could the piece be performed without the system, are there other possibilities etc.
It is my aim to be able to go thoroughly through every instrument and every related electronic sound that was supposed to be synchronized. Why did some things work so well while others did not? Why did I get this low bass feedback when the bass drum was playing a long sustained drone. What can I do to get that sound right? Why did I not get any delay or procrastinate effect on the strings? Where did that eternal reverb come from? Why did the metallic sound of the piano and vibraphone sound so much better than the string. I could go on and on.
It is my aim to go through the conductor’s use of the ConGlove. Was ConDiS doing what it was supposed to do? Why is there as a sudden change in volume at least three times during the performance, where it was not supposed to be. What can I do to correct it? Why was there never an expressive gesture where the conductor would raise the volume level, let’s say after an attack of one or more instrument? What can I do to get more expressive gestures? Do I need to do compositional changes to get the conducting gestures and sonic textures more audible?
I will be reporting my reflections during next weeks using words audio and illustrations. I hope it will be to an interest to others and would be very grateful to receive comments.