CROSSING THE LAGRANGIAN POINT is a large 60-minute sonic and visual multi-movement piece for light and sound artists, that fuses various contemporary visual and musical styles and techniques.
Sponsored by Harvestworks with funds by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Continuing my decade-long work with large ensembles using electronics, CROSSING THE LAGRANGIAN POINT will use performers who create sound, light and visuals at the same time, in that multiple threads come together in one unifying whole. The piece is a large 60-minute sonic and visual multi-movement piece for several light and sound artists, and is part of my ongoing Dark Circuits Orchestra concept. It unites contemporary visual and musical styles and techniques, bridges the cultural gap between many historically divergent practices, and is the logical next step in my work with large electronic ensembles.
I will use multiple visual projections, as a composer I approach them the same way I approach sound. To break off from the familiar TV/smartphone rectangle, we will not use video screens, but work with light. This does not exclude video artists, but we will use projection (mirrors, projecting on unusual surfaces) in a way that it engulfs space the way sound does. As for the sound, the artists create sound from their lighting devices, or control their visuals from sound. The piece will be written with specific performers in mind. Given the immense variety of electronic sound and visual production, I insist that any work for such an ensemble has to take into consideration the performer’s unique instrument.
I hope to create a groundbreaking experience for composers, performers, visual artists and audience, that will help pushing forward the language of electronic ensembles, redefine what is possible in contemporary performance, develop a new method of working for large ensembles of visual performers, and inspire others to follow.
Hans Tammen likes to set sounds in motion, and then sitting back to watch the movements unfold. Using textures, timbre and dynamics as primary elements, his music is continuously shifting, with different layers floating into the foreground while others disappear. Whether richly processed guitar sounds from his hybrid interactive guitar/software instrument Endangered Guitar, traditionally notated material for his Third Eye Chamber Orchestra, or graphically notated elements for the all-electronic Dark Circuits Orchestra, his music flows like clockwork, “transforming a sequence of instrumental gestures into a wide territory of semi-hostile discontinuity; percussive, droning, intricately colorful, or simply blowing your socks off” (Touching Extremes) – http://www.tammen.org
WEBSITE AND SOCIAL MEDIA LINKS