3D-koncert

At this concert, Hans Peter Stubbe Teglbjærg, newly appointed lecturer in electro-acoustic composition at RDAM, presents his latest 3D works. The program draws a portrait of his work as a composer as well as shows the breadth of the 3D sound field as such. In recent years, 3D sound has given the electro-acoustic composer the missing link in the production chain of refined tools within sound design and sound editing. All the works are created for the spherical 3D format, and the full experience is therefore best obtained at RDAM's 3D soundsystem in Ny Sal.

Spherical City (2018-19) 
Third part from “Spherical Triology”
[Fieldrecordings, HOA, 3D audio system]

Based on fieldrecordings made during several trips to Paris between 2009 and 2018. Inspired by the fact that the Ile-de-Paris region in geological prehistory was under water. 

Composing with field recordings is a sensible matter. Good recordings already presents a certain “point of view” and may not need much editing before being presentable. Composition becomes an act of balancing what has been created on-location supplemented with what can be added off-location in a studio. I wanted to sculpt recordings with an inherit sense of space (wideness, openness, unusual locations) into a combined spatial field where several “spaces” can coexist and create new spatial experiences. The ambisonic “soundfield” sound to me quite natural and fits well with the delicacy of natural space in my recordings. Drawing from my travel diaries the recordings are mixed for their musical rather than anecdotal qualities towards a fictional (and purely auditory) narrative of the power of water. In other words I am telling an invented story. 

Composed during a Composer-in-Residence at Music Innovation Study Center (Vilnius, Lithuania) 2016-18 supported by the Danish Art Council. 

Rainbow Bridge (2022) (world premiere)
5 electronic essays from Tokyo
[for iPad and 3D audio system]

A metropol with a giant network of subways, 4-way zebra-crossings seamlessly merging crowds of people, waterways slicing shores bridges by vast highways in 3 floors, sky bound neonlights pushing the day into the night; Interspersed with small islands of green peacefullness, shrines celebrating natural wonders, gentle parks for the mind can rest. Small and large spaces in one, Tokyo is a vast never-ending world of it own.

Being there, in the middle of corona pandemic, locked up in a small room with wall-to-wall paintings of a hunting wolf couple in the Kōenji neighbourhood, asked for a reaction. I thus sculpted 5 timbres to reflect what I have seen, and devised a way to unfold them in space. Simple finger gestures turns audio building blocks into large unfolding spaces with the touch of a few fingers using an iPad. Each essay explores a different timbre and a different concept of space. They should be thought of as one large meta-space bound together by an invisible Rainbow Bridge.

The 5 electronic essays are a tribute to my electronic music friends in Tokyo, who are all into gesture controlled electronics, and the immersive metropol of Tokyo.

Composed following a stay in Tokyo 2022 using the MaxMSP software and the Mira app. Spatialised using Spat5.

A Coronian Ring (2022) (World premiere)
Nonlinear physical modelling synthesis 
[for keyboard, HOA, VBAP, 3D audio system]

An electro-acoustic composition whose sound material where developed during the early Corona period using nonlinear physical modelling synthesis and 3D spatialisation. Nonlinear synthesis was explored in a number of hard-to-predict yet deterministic “electronic instruments” as well as a functions at higher hierarchical levels. As such nonlinear models where explored to mimic the unpredictable nature of Corona. Models in the geometrical form of rings or crowns where spatially and timbrally mixed to form a sense of "coronation”. There are many links to the companion work “The Anamorphic Circle” (2019) allowing the two works to be performed jointly. Taken as a whole, the two works “crown” my work over the years with the physical modeling synthesis software “Genesis”. After Corona where will we go? Forward or in a ring? No straight paths out of here …

The concert master plays in 48 channels or are ambisonicly decoded to fit symmetrical speaker layouts. 

An online version intended for headphone listening (binaural) is available here : https://vimeo.com/698628803

Composed for ACROE (Grenoble, France) 2020-22 using their proprietary Genesis software. Spatialised using Reaper, Panoramix, Kontakt.