EAU er opptatt av å ikke forsøple for mye naturen. Derfor prøver vi nå å lage digitale program.
Program for alle konsertene
8. April – Toxic Colour Lydinstallasjon & CD Slippkonsert
Natasha Barrett
Label: Persistence of Sound / PS014
8. april 14:30-16:45
9. april 17:00-18:10
11. april 17:00-18:30
Impossible Moments from Venice 3: The Other Side of the Lagoon (10’00, 2023)
“The Other Side of the Lagoon” is the third composition in the “Impossible Moments from Venice” series. With one foot in reality, these compositions take the listener to a fictional location beyond the reach, as if in a dream state that nevertheless appears to be totally real. The watery reality of Venice, sinking into the muddy lagoon and threatened by the rising Adriatic, is counterpointed by curious sounds we rarely hear. These sounds are revealed by advanced signal processing methods that I developed during the Reconfiguring the Landscape artistic research project, aimed at exploring interesting features of the urban noise we are party to. The work draws on the sound of Venice before the tourists awaken, counterpointed by iron piers rolling on the waves, motorboats resonating across the Lagoon, and a sense of decadence sitting uneasily against the reality of the rising tides. Impossible Moments from Venice 3: Commissioned by the Thomas Seelig Fixed Media Award (Germany, 2023).
Glass Eye (11’30, 2024)
“Glass Eye” is an electroacoustic dystopia where the proliferation of surveillance technology is an invisible force, quietly eliminating resistance. The Glass Eye focuses on undesirables in the crowd, singles them out and eliminates them through a transformation from expression to apathy that eventually dissolves into harmless tones. Commissioned by Notam with support from the Norwegian Composers’ Fund.
Ghosts of the Children (8’29, 2024)
The sensory presence of spirits is deeply embedded in the cultures that have shaped history. While I don’t rationally believe in ghosts, cultural influences have the power to shape even our most fundamental sensory perceptions. In Ghosts of the Children, the spirits of lost children linger on – mainly as abstractions, playing in a frozen world that gradually warms with their presence, wanting to capture beauty rather than death.
The Swifts of Pesaro (6’07, 2024)
In November 2023, while preparing for the premiere of a large orchestra and live electronics composition I had some days off from the intensity of performance, people and concert halls. Troubled by the chaos unfolding in the world at the end of 2023, I sought solace in meditative listening and revisited recordings made during the warm summer nights in Pesaro, Italy. From this emerged the slow-moving sounds of The Swifts of Pesaro. The Swifts of Pesaro and Ghosts of the Children were supported by the Norwegian Government Grants for Artists.
Toxic Colour (15’20, 2024)
Mining. Construction. Industry. Cleanup or cover-up? The first outdoor exhibition to showcase aerial photography capturing the human impact on natural landscapes was The Earth from the Air by French photographer Yann Arthus- Bertrand, displayed in Paris in 2000. These stunning, often beautiful photos paradoxically contrast with the often ravaged landscapes they depict. The style has become a central theme in many photo-art projects, and although I am repeatedly drawn to their imagery, their messages risk being lost in our oversaturated world of digital visual media. I decided it was time to make a statement in sound. Commissioned by Electric Audio Unit with support from Arts and Culture Norway.
9. April – kl 18:30-20:30 Analog elektronikk med Ernst van der Loo of Marcus Wrangö
Til konserten onsdag 9. april har EAU invitert Marcus Wrangö fra Audiorama.
Marcus vil fremføre urpremieren på en ny komposisjon for fast media som han har jobbet med. Han vil bli ledsaget av EAUs Ernst van der Loo for et live-sett med en rekke analoge elektronikk. Konserten er forutgått av en kunstnersamtale der Marcus og Ernst vil diskutere deres filosofier og strategier for bruk av modulær analog syntese i et flerkanalsmiljø. Konserten inneholder også et lite utvalg av klassiske verk for fast media fra både Sverige og Nederland.
Det er også en kunstnersamtale fra kl 18:30.
Fixed media pieces:
Switchover Variety (11’28), 2025 (WP) – Marcu Wrangö (SE)
It looks like it will be the first in a series of pieces of mine, working with microsound cybernetics. The source material is completely based on cybernetic synthesis recordings using a Serge Modular Synthesizer. The system was designed in 1973-1975 by Serge Tcherepnin, and built in the 2020s by Nensén Electronics.
The material is processed using the granular system called Havregryn that I started building in late 2024. The musical forms, effects and futher processing is composed in my computer music system called Envane. The first piece composed in Envane was finished in the middle of the 2024 but the software has been in the workings for several years. The piece will be in three parts and is composed for higher order ambisonics of the 7th order.
Still Life, Q (6’28), 1969 – CC Hennix (SE)
“Still Life, Q” was composed in 1969 by CC Hennix, for four channel audio in the studios of the Swedish National Radio. Here we could listen to a scaled up version for Higher order ambisonics by Marcus Wrangö in 2025.
Landscape with 3 Tape-Recorders and… (8’24), 1973 – Roberta Settels (US)
Roberta calls this piece a pastoral, with a certain lyrical mood with associate to nature. The piece is symphonic in form with three contrasting movements and a coda, which introduces a second pastorale. ”Landscape” has an increasing tension, and contains unfamiliar sounds and screaming creatures. Its some kind of adventure story revolving around a limited sound palette, scissors and tape. The sounds, cut into pieces, seemed to come alive and in a strange, wordless language, communicate with one another. The piece was composed in 1973, probably in the Electronic Music Studio EMS in Stockholm.
Kompositie 1972 (12’47), 1972 – Jan Boerman (NL)
Kompositie 1972 is made with fairly primitive equipment. A Moog modular, an octave filter and a few stereo tape recorders. The composition is strictly organised by use of the Golden Ratio. The 8 channel version used for this concert was digitised from the original master tapes around 2003 with help of composer (and former student) Kees Tazelaar.
The higher order ambisonics upscale was done in 2025 by Ernst van der Loo.
Live Improvisation with analogue electronics by Ernst van der Loo and Marcus Wrangö
Biographies:
Marcus Wrangö (1976, Sweden) composes electroacoustic music both in studio based form and for live electronics. All his compositions and performances feature cybernetic systems, ideas and techniques. He has worked with everything from complex immersive multi speaker technologies, modular systems, advanced gestural controllers to programming, field recordings and visual projections. Wrangö runs the small label/publishing company Mörk Materia Förlag and T-Shirt shop Modulart. Based in Avesta, Sweden.
Jan Boerman (1923-2020), a pioneer of electronic music in the Netherlands, was a master of “pure” electronic music. Most of his work consisted of music whose sounds were mostly electronically generated and was entirely recorded on tape. Boerman has, however, worked in other genres and hybrid forms. His music is distinguished by “human” qualities such as sonic beauty, an illusion of spaciousness, and dramatic build-up. A significant structural principle of his work is its temporal ordering according to the Fibonacci series, corresponding to classical Golden Section proportioning.
Catherine Christer Hennix (also known as C.C. Hennix;1948 – 2023) was a Swedish musician, poet, philosopher, mathematician and visual artist. As a musician, she worked with figures such as Pandit Pran Nath, La Monte Young, and Henry Flynt.
Roberta Settels (1929–2014, US/SE) Born in New York. Composer and designer. Studied at the Juilliard School in New York and at IRCAM in Paris (together with Iannis Xenakis and Pierre Boulez) and also worked at Elektronmusikstudion (EMS) in Stockholm. She wrote a large number of electroacoustic works, music for television and radio. he described her compositions as “music for spiritual survival”
Ernst van der Loo (1974, Rotterdam) is a Dutch composer/ performer based in Norway. He studied sound engineering and electroacoustic composition & performance. He obtained a bachelor degree from the institute of Sonology in The Hague, The Netherlands and a master degree at the Norwegian Music Academy in Oslo, Norway. His main field is acousmatic spatial audio composition in the fixed media format and has created several GPS sounds walks and did sound design for theater.
His work has been played at international festivals in the spatial audio field. Works have been performed at: Ultima, BEAST FEaST (UK), Klingt Gut (DE), SOSSA 2019 (KR), the New York Electroacoustic Music Festival (USA), ISAC 2023 (IT).
10. april | 18:30–20:45
Lydbølgefestivalen ville ikke vært komplett uten EAU Portrettkonsert!
Kvelden starter med en kunstnersamtale kl. 18:30 med Håkon Lie, etterfulgt av konsertstart kl. 19:00. Programmet inkluderer verdenspremieren av “Corium II” av Mathieu Lacroix, samt et nytt verk av den greske komponisten Nikos Stavropoulos, som for tiden er bosatt i Storbritannia. I tråd med vårt mål om å fremme immersiv musikk fra ulike land, vil EAU også fremføre elektroniske klassikere fra François Bayles tidløse prosjekt “L’Expérience Acoustique” (1970–72), spilt for første gang i 3D. Konserten inneholder også Norgespremieren på Natasha Barretts “Urban Melt in Park Palais Meran” (2019) og avsluttes med EAUs egen live-elektroniske improvisasjon.
Par une belle fin d’après midi (8’16) – Nikos Stavropoulos (GK/UK)
The work is contrasting aural places of intimacy and enclosure with expansive spaces, and propagates through their interaction. The title is borrowed from a painting by René Magritte, depicting two coffins seated in a mountainous landscape. The source materials for the work have been recorded with an 18 channel microphone array, arranged in a globe-shaped formation, encoded in Higher Order Ambisonics. The work was completed with the support of Musiques & Recherches at the Métamorhose d’Orphée studio during the summer of 2024.
Nikos Stavropoulos studied piano, harmony and counterpoint at the National School of Music and Nakas conservatoire in Greece. In 2000 he graduated from the Music Department of the University of Wales, Bangor where he was awarded an MMus in electroacoustic composition studying with Dr Andrew Lewis. In 2005 he completed a PhD at the University of Sheffield Sound Studios. His work ranges from instrumental to tape and mixed media. He has composed music for video and dance and his music has been awarded mentions and prizes at international competitions. He joined the Music, Sound and Performance Group at our University in 2006 and is a founding member of the Echochroma New Music Research Group.
Urban Melt in Park Palais Meran (12’00) – Natasha Barrett (NO/UK), 2019
The summer of 2018 was rather hot. The cities I visited, normally a pleasant summer temperature, were melting. Is this the sign of summers to come? Experiencing how excessive heat can lead to both mirages and a state of delirium, Urban Melt transports an ordinary, outdoor table tennis game in Park Palais Meran, Graz, to a crazier world on the other side of the mirage. This work is one in a series of pieces that visits everyday ‘normal’ sound scenes and explores ways in which we can evoke and provoke a new awareness of environments we easily ignore. The work was supported by a grant from the Norwegian The Composers’ Remuneration Fund.
Corium II (09’25) – Mathieu Lacroix (CA), 2025
Corium is a material that is created from a nuclear meltdown accident, such as during the Chernobyl accident. Its texture looks similar to molten lava and it may be heated up to 2 500 degrees Celsius. The radiation is so intense that even decades later it can distort photographies and instantly kill. This is the second and final piece in this series. Composed with the support of Arts & Culture Norway and University of Inland Norway.
Mathieu Lacroix is a French-Canadian composer and music producer working in Norway. He has studied and/or worked with composers such as Hans Tutschku, Kaija Saariaho, Jaime Reis, Ståle Kleiberg, Trond Engum, Michael Obst, Markus Reuter, and Annette vande Gorne. He completed his studies at NTNU in Norway, IRCAM in France, and Musiques & recherches in Belgium. He has been invited to festivals such as Mixtur, Meta.Morf and Manifeste. His music is performed in over fourteen countries. He is a member of the Electric Audio Unit with Natasha Barrett and Ernst van der Loo. In 2021 he completed a PhD thesis on synchronization strategies in mixed music. He also plays Chapman Stick, and works as a producer and sound engineer. He is an associate professor in composition and music production at Inland Norway University of Sciences.
La preuve par le sens — La langue inconnue (10’21) – François Bayle (FR), 1971
L’Expérience acoustique is a cycle of fourteen pieces, lasting from three to about thirty minutes, divided into five chapters. The period of the composition of “Expérience” extends from 1963-64 through 1972.
This “unknown language” from the title would in fact be the language of sounds. It does not resemble the articulation of phonemes in our human languages. In contrast, it appears in a single stroke of the brush, agglutinate, telluric and stupefying, both massive yet curiously hollow at the centre. This jungle is also a belly. The ceaselessly varied rhythmic ostinato is accompanied by a high-pitched scintillation, following and fascinating from a distance—an object impossible to clearly discern because of the overabundance of light. “I wanted to provoke the same states [as that of certain drugs] without any need for exotic mushrooms” (Bayle)—the crescendo having reached its destination, the music collapses on itself, very briefly offering the breach (trespass of meaning?) of a finally unobstructed glimpse of this “landscape”.
François Bayle (1932, Madagascar / France).
Bayle moved to France at the age of 14. In the 1950s he studied with Olivier Messiaen, Pierre Schaeffer and Karlheinz Stockhausen. In 1960 he joined the Office de Radiodiffusion Télévision Française, and in 1966 was put in charge of the Groupe de Recherches Musicales (GRM). In 1975, the GRM was integrated with the new Institut national de l’audiovisuel (INA) with Bayle as its head, which post he held until 1997. During these years he organized concerts, radio broadcasts, seminars and events celebrating individual composers, supported technological developments (Syter, GRM Tools, Midi Formers, Acousmographe) and was behind innovations such as the Acousmonium and the INA-GRM recordings label. In 1991, he founded his own electronic music studio, the Studio Magison, where he has devoted himself to research, writing and composition.
Kort pause
EAU live-elektronisk improvisasjon
EAU skal spille en ny improvisasjon med elektroakustiske og elektroniske lydkilder. Alle medlemmene i EAU spiller sammen og jobber for å skape et nytt og interessant verk med full 3D lyd ut av intet.
11. april | 19:00–20:30 Musikk av unge og tidlig-karriere komponister fra Norden og Baltikum
For årets festival har vi utlyst en åpen utlysning til verk av unge og tidligkarriere-komponister fra Norden og Baltikum. Kom og opplev hva som rører seg på den nye musikkscenen!
Vi er glade for å kunngjøre det endelige utvalget:
Fell Swoop (7’10) – Thorvald Bugge Helle (NO)
I’ve always been fascinated by chaotic systems, and the unpredictable, complex sounds they can make. This complexity gives the material a highly organic quality, and struggling to keep the chaos under control leads to a particular form of tension. Fell Swoop is the latest in a long line of pieces I’ve made using spatial feedback synthesis, which takes chaotic synthesis into the third dimension. The work straddles the line between synthetic and organic, by making the spatial motion a direct result of the same chaos that creates the sound. The result is an intense, complex sound world that is felt as much as heard.
Thorvald Bugge Helle is a composer and performer from Oslo, Norway. He primarily composes electroacoustic music, both acousmatic works and pieces for instruments and electronics, that often explore spatialization and sonic narratives. He is also an avid improviser, playing live electronics and objects together with various instrumentalists. His works have been performed in Oslo, Vilnius, Tallinn and Helsinki, and he has performed live at venues such as Kafe Hærverk, Boksen and Oslo Domkirke. He is currently working on an album of aggressive, visceral noise music using his self-developed feedback synthesizers.
Abeyance (9’35) – Louisa Palmi (NO)
Abeyance is an exploration of pause and expectation. The piece invites the listener to reflect on the fleeting moment between what has been and what is yet to come, emphasizing the power in the unexpected, in what hesitates or lingers. That which does not yet know its meaning.
Louisa Palmi a composer and artist. She combines electronics, field recordings and 3D sound technology to create immersive audio experiences. Through specific snapshots, she explores her surroundings. Her work has gained recognition, leading to presentations at venues across Europe. In 2023 she got the title Emerging Artist from the Arctic Arts Festival.
We are guests of nature and we must behave (6’07) – Viktoria Grahv (EST)
In the piece I used an excerpt from Friedensreich Hundertwasser’s lecture at the Center for Environmental Education benefit reception, Washington, December 15, 1982. The text reflects great artists’ thoughts about harm that humans are causing to nature but also suggests simple behavioural strategies to reduce this harm. For me the main thought which every human being should learn as a mantra and apply is “We are guests of nature and we must behave”. In music I try to emphasise the text of Hundertwasser and depict two different processes: man’s distancing from nature and industrialization, and the opposite process – our return to nature.
Grahv studied composition in Georg Ots Tallinn Music School and Estonian Academy of Music and Theatre. She continues her composition studies in the EAMT master’s program. Grahv’s music is characterized by sound sensitivity, abundance of colors, dreamlike fragility and unexpected solutions. In her work, she looks for ways to reflect poetic texts and states of mind in music. Grahv’s works have been performed at the Estonian Music Days, Athens Digital Arts Festival (Greece), SiMN – International Symposium of New Music (Brazil) and Cultura e Sustentabilidade (Portugal).
Rain (4’04) – Kristoffer Kleveland (NO)
The calm rain surges into storms, reshaping the world into unsettling contours. Clarity emerges.
Kristoffer Kleveland is a composer and music technologist who blends his expertise in music production, sound engineering, and trumpet performance to craft immersive sonic experiences. Emerging as a new voice in electroacoustic music, he will debut as a composer at Lydbølgefestivalen 2025 with his piece “Rain”. His unique approach has led to performances across various platforms, including a performance at the Sonic Exploration 2nd Edition project in Foggia, Italy, where he presented the Norwegian folk tone “Eg er Framand” for live electronics, voice, saxophone and organ. He is currently establishing his own studio in Trondheim, set to open in the fall of 2025.
Northern Soliloquy (5’15) – Eugenio Cecchini (IT/EST)
Set against the backdrop of a cold northern landscape, Northern Soliloquy is an acousmatic composition that invites listeners on a journey through ambiguous and enigmatic sound environments. Blending together a diverse array of approaches—from raw soundscape recordings to highly processed digital manipulations—the piece reflects on ambiguity, memory, and loss, evoking a world where the distant calls of wolves fracture the silence of glaciers through the frozen expanse.
Eugenio Cecchini is a composer from Rome, fascinated by sonic manipulation and its power to evoke deep human connections. Engaging with different practices—including video and performance—they center their artistic focus on sound, creating immersive auditory experiences.
Be Water My Friend (5’09) – Yui-ka Zheng (HK/EST)
“Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes a cup. You put water into a bottle, and it becomes the bottle. You put it in a teapot, it becomes a teapot. Now, water can flow, or it can crash. Be water, my friend.” – Bruce Lee. Inspired by this famous phrase, all the music materials in the piece are from the Chinese instrument – Guanzi, giving the semi-graphical notation to get several gestures. My aim is developing the texture in between single line to a ‘chorus’ which emphasizing its own strengths while minimizing the areas of weakness.
Yui-ka Zheng is a Hong Kong composer whose music has been described as “purely musical” (5against4). Zheng’s compositional repertoire spans diverse sonic realms. Zheng is deeply interested in exploring the boundaries between “original” sound sources and their processed counterparts, drawing inspiration from the philosophical concept of the Ship of Theseus. Her major works include Tract for mixed ensemble, LoTing for guanzi and live electronics, Deadpan for orchestra, ERRORPunk for multimedia and Be Water, My Friend for ambisonic. Her works have been performed by many international ensembles and orchestras, including: Art Percussion Ensemble, Hong Kong Philharmonic, Hong Kong Chinese Orchestra and ilSuono.
Gemelli siamesi (8’56) – Cristiana Palandri (IT/UK)
Gemelli siamesi is an electroacoustic piece about earth and atmosphere. Distance can live in proximity, where the ancient is present and the future becomes memory. The sounds bring worlds of remembrance and the future, in a constant slippage of meaning in which wakefulness is sleep and conscious thought can be constriction. The listening body is dissolved in the flow of time, without boundaries. Drift of dream machines and celestial drones. While the eye and the ear remain within us, vigilant.
Composer and visual artist, Cristiana Palandri graduated in Electronic Music at the Giuseppe Verdi Conservatory in Milan and in Composition at the Conservatory of Italian Switzerland. She is currently a PhD candidate in Music Technology and Innovation at De Montfort in Leicester (UK). In 2018 she participated in the Premio Nazionali delle Arti with the Canadian composer Barry Truax (Conservatorio Statale di Musica “Alfredo Casella”, L’Aquila) and in 2019 in the New York City Electroacoustic Music Festival.
Palloncino (4’10) – Elia Dell’Orco (EST)
Palloncino is an acousmatic piece exploring the intersection of Sound Poetry and sonic experimentation. Created in collaboration with Italian artist and photographer Giorgia Cappetti, who wrote and performed the poem featured in the piece, Palloncino is crafted entirely from recorded sounds of balloons. Through extensive manipulation and exploration, the work transforms the familiar object into a dynamic soundscape, where the balloon becomes both a sonic source and a conceptual space.
Elia Dell’Orco is a student of Electronic Music and Audiovisual Composition at the Licinio Refice Conservatory in Frosinone and the Estonian Academy of Music and Theatre (EMTA), Interested in the world of audiovisual arts and acousmatic composition. Elia develops his musical exploration through deep introspection, where sound becomes a visceral and tangible experience. His aesthetic delves into the boundary between the perceptible and the invisible, shaping raw and tactile sonic matter that unveils fragments of truth. Each composition is an act of revelation, an attempt to make the most authentic essence of things audible.
Nubi (11’00) – Gabriele Teti (EST)
Nubi is an abstracted soundscape composition based on a poem written during the COVID pandemic. The piece follows a narrative trajectory that reveals images from the text depicting human activity and its relation to the world. It progressively descends into a more abstract and dramatic soundscape an assembly of mixed materials.
Gabriele Teti is an emerging artist who began exploring music in his bedroom, a journey that led him to study electronic music and multimedia arts at the Conservatory of Frosinone and the EAMT in Tallinn. In his music, Teti seeks an expressive form that navigates aesthetic hybrids and evocative symbolism, often weaving through childhood memories, dreams, and the unconscious.