Composed in 2022 and premiered during my PhD recital, this piece marks my first exploration of spatial field recording playback. To create a quasi-surround sound effect, I doubled a stereo field recording and distributed it across four speakers, enveloping the audience in an immersive birdsong-inspired soundscape.
As the piece unfolds, an ensemble of instrumentalists gradually enters a darkened stage, moving freely through the space as if among the birds. Their performance is guided by a proportional notation system, which transcribes the original birdsong recording into musical gestures. This interplay of live musicians and spatialised field recordings blurs the boundary between performer and environment, inviting the audience into an evolving, organic sound world.
Performers include: Lindsay Vickery, Izzy French, Javier Finlay and myself
As the piece unfolds, an ensemble of instrumentalists gradually enters a darkened stage, moving freely through the space as if among the birds. Their performance is guided by a proportional notation system, which transcribes the original birdsong recording into musical gestures. This interplay of live musicians and spatialised field recordings blurs the boundary between performer and environment, inviting the audience into an evolving, organic sound world.
Performers include: Lindsay Vickery, Izzy French, Javier Finlay and myself
