|In ancient times, wind chimes were cast to ward off evil spirits. Under this assumption, wind chimes communicated with the spirit world. Usually played by the random process of the wind, only much later did they become part of the western orchestra, where humans played them following a deterministic score.
Recently, it seemed that I encountered a mass of evil spirits.
‘Masse à Temps’ (French for ‘Mass in Time’) is the orchestral record of this. It was scored in real-time via the constant modulation of a random process and played by the Proteus/2 orchestral sound module made up of Trumpets in D, Windchimes, Gong/Cymbal, Temple Bell, French Horns, String Section, Harp, Tuba, Solo Violin, Wind Section, Timpani, Pizzicato Violins and Pizzicato Celli.
To me the result sounds a lot like european avant-garde orchestral music from 1965, the year I was born, especially along the lines of Karlheinz Stockhausen’s “Stop” and “Plus Minus”. So, who knows who guided my hands during the creation of ‘Masse à Temps’?
Was it friend or foe?
|Title:||Masse à Temps|
|Sound Artist:||Frank Rothkamm|
|Visual Artist:||Holger Rothkamm|
|File Under:||algorithmic orchestral music|
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