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- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
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Aleatoric Anthems and Palindromes : music by Lars Bröndum, performed by the Aleatoric Chamber Ensemble
- 2021
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Artistic work (peer-reviewed)abstract
- Aleatoric Anthems and PalindromesAleatoric Anthems and Palindromes is a collection of music composed by Lars Bröndum 2020-2021. The music was performed by the Aleatoric Chamber Ensemble: My Eklund, Per Gärdin, Lisa Ullén, Lars Bröndum, Daniel Borgegård Älgå. The CD is selection of remixes from the 6 volume anthem suite and also features new music, such as, Three Variations on an Aleatoric Anthem and Palindromes.The idea behind the Aleatoric Anthem project was to create ironic anthems as a commentary on the unfortunate resurgence of nationalism during the Corona pandemic. New ironic anthems were generated for all countries in the world from a one page graphical score. The existence of national anthems thus becomes meaningless since all the anthems are variations on the same piece. Most of the pieces were generated using different aleatoric methods - either with a computer program I assembled entitled “Anthem Generator” or as indeterminate live performances. The piece Three Variations...” is a development on the anthem idea in a more extended format, and scored for live ensemble. The Anthems for Mauritius and Paraguay on this CD differ from the original suite, since they are here live recordings over fixed media. The original 6 volumes with aleatoric anthems can be found here : larsbrondum.bandcamp.com Palindromes“Palindromes” is a suite of ten short pieces. It is a graphically notated score with indeterminate elements in that the palindromes may be played in any direction. That is, original, inversion, retrograde or in retrograde inversion. The parts may be played in any order. Each palindrome has the duration of approximately 2 minutes. Here the suite is arranged for saxophone, live electronics and fixed media. It is here divided into two suites: Palindromes 1-5 and Palindromes 6-10.
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| 2. |
- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
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Double Helix Staircase : For 8-channel Surround
- 2014
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Artistic work (peer-reviewed)abstract
- Double Helix Staircase komponerades 2014 av Lars Bröndum. Kompositionen har uppförts på följande konserter:- 16/11, 2014 (uruppförande) på ”Ljudbio 8-kanal konsert” i Uppsala.Kulturföreningen NEO- 21/6, 2015, New York City Elektroacoustic Festival (NYCEMF), New York City, USA- 23/4, 2016, VEMS kulturnatt konsert, Fylkingen, Stockholm.En stereo mix av Double Helix Staircase publicerades också på albumet Fallout 2016. Fallout är ett urval av verk av Lars Bröndum mellan 2011-2015. Albumet fick fonogramstöd från Svenska Kulturrådet 2016 och publicerades på CD av skivbolaget Antennae Media 2016 och på strömning- och nedladdningsstjänster som Spotify, iTunes och Amazon. Fallout albumet vann också första pris i kategorin "Experimentell" på Manifest Galan 2016 av SOM (Svenska oberoende musikproducenterna) 2016. Juryn bestod av medlemmar i FST (Föreningen Svenska Tonsättare). Releasekonserten för albumet var den 26 augusti 2016 på Fylkingen i Stockholm. Double Helix Staircase utforskar idén av en klingande gestaltningen av en DNA-spiral skapat med huvudsakligen mikrotonala klustertekniker och analog syntes i ett åtta kanal surround sound system. Denna variant som diskuteras här har slutligen mixats om till stereo.Double Helix Staircase komponerades i LAB studios i Stockholm och mixades på EMS (Elektronisk Musik i Sverige) i Stockholm, Sverige 2014. En stereo mix gjordes 2016.
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| 3. |
- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
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Mirrors and Reflections : The Wall of Darkness
- 2022
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Artistic work (peer-reviewed)abstract
- Mirrors and Reflections is a live electronic piece with a surround sound fixed media part composed by Lars Bröndum. The piece was performed live by Lars Bröndum on Theremin and live electronics at the New York City Electroacoustic Music Festival (NYCEMF) 2022 Thursday, June 23, 8:00-10:30 PM at the Loreto Theater in New York City. The fixed media part was recorded with modular synthesizers, while the live part is performed on a Theremin interfaced with a semi modular synthesizer and effect pedals. The piece is in two parts. Part one, "Mirrors", is improvisational and fluid in character and part two, "Reflections", is centered around asymmetrical rhythmical gestures using random voltages. The piece revolves around a Buchla bass line that behaves like a passacaglia, but is interrupted by short episodic parts. The piece is also featured on Lars Bröndum's album "The Wall of Darkness" published by Antennae Media 2022 (antennaemedia.se). Link to album on Spotify: https://open.spotify.com/album/5oNUS5HKb2MRMiWCoTdT0n?si=M4fdn1b8TGuKHH-GwFc33ALink to program: https://nycemf.org/2022-program-book/
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| 4. |
- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
-
Möbius Loop
- 2022
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Artistic work (peer-reviewed)abstract
- Möbius Loop komponerades med inspiration av multidimensionella möbiusband. I kompositionsprocessen experimenterade tonsättaren med olika tillvägagångssätt, både med notation samt med bandloopar. I den slutliga versionen valdes tekniken med bandloopar ur rent estetiska skäl. De instrument som huvudsakligen användes var analoga synthesizers och theremin. Stycket mixades slutligen i en stereoversion och i en version för 7.1-kanalig surroundljud. Verket uruppfördes 2023 på The New York City Elektronic Music Festival (NYCEMF) i New York City, USA. En stereo mix av Möbius Loop publicerades också på Lars Bröndums album The Wall of Darkness av skivbolaget Antennae Media.
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| 5. |
- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
-
Subliminal Man - part 2 : The Dystopian World of J.G. Ballard
- 2022
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Artistic work (peer-reviewed)abstract
- The music "Subliminal Man" was composed, recorded and mixed by Lars Bröndum. The recordings were made with mostly modular analogue synthesizers and audio equipment, Theremin and field recordings. The piece is in two parts. Part one (please observe that part one is posted in a separate DIVA post) and part two . Part one is centered around asymmetrical rhythmical gestures using random voltages with a Buchla synthesizer and frequency modulated sounds. Spring reverbs was used as percussive instruments and analog sequencers creates gestural patterns. The piece is interrupted by short episodic outbursts. Part two starts with crackling noises which evolve to irregular ostinato patterns. Microtonal webbs are created using a pitch ribbon and Theremin and are spun in layers by using a loop pedal. Feedback is used towards the end of the piece - filtered with low pass filters over a bed of short Buchla Music Easel sounds. The compositions are live in studio recordings and are improvised. However the improvisations has been remixed and shortened. Overdubs was also was done for the final release. The pieces are inspired by the science fiction short story "Subliminal Man" by J.G. Ballard. In the story the characters are manipulated into purchasing more and more and thus having to work more. The manipulation is done by the way of subliminal messages projected in their surroundings. Ballard’s Subliminal Man is a critique of consumerism.
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| 6. |
- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
-
The Wall of Darkness
- 2022
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Artistic workabstract
- "The Wall of Darkness” is a selection of nine electro-acoustic pieces composed by Lars Bröndum between 2021-2022. The thematic threads in these works are inspired by concepts from books by e.g. Arthur C. Clarke, J.G. Ballard, Karl Ove Knausgård and by scientific ideas and theories such as the the Big Freeze, the Mycelium and the Möbius band. On this album Bröndum explores a more orchestral approach to electroacoustic music using sound masses, microtonality, micropolyphony as well as complex rhythmical ratios. Some of the pieces has been performed live and/or as fixed media in Sweden and USA. The album is available on most streaming plattforms, such as Spotify and Apple Music, as well as on Bandcamp.The album was released September 24, 2022 on streaming platforms, such as, Spotify, Apple Music and as downloadable album on Bandcamp.comThe Bandcamp issue contains three bonus tracks.All music composed, mixed, mastered and perfomed by Lars Bröndum. All music © Lars Bröndum 2021-2022. Cover photo by Lars Bröndum Lars Bröndum: Buchla synthesizers, Wing Pinger, Sidrax Organ, assorted Eurorack modules, Theremin, Moog synthesizers, Arp2600, continuuMini and other electronic instruments
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| 7. |
- Bröndum, Lars, 1961-
(composer, creator_code:cre_t)
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Twittering Machine #3 : Redux - the doomsday machine
- 2018. - 2
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Artistic work (swepub:mat_score_t) (peer-reviewed)abstract
- Twittering Machine #3 is the third composition Lars Bröndum has composed which is inspired by Paul Klee’s painting Die Zwitscher-Maschine (Twittering Machine). The composition was completed in 2017 and was rearranged in 2018 for a slightly smaller orchestra (thus the added title “redux”). The piece was chosen in a call for works by a committee of representatives from Jönköping Sinfonia in conjunction with Kungliga Musikaliska Akademien (Swedish Royal Accademy) och Svensk Musik for a performance by the Jönköping Sinfonietta 27 April, 2018.Bröndum has written three compositions based on the Klee painting Die Zwitscher-Maschine. The three “Machines” are varied in some aspects, such as, harmony, melodies and instrumentation but are very similar in form. It is as if the machine is cranked up and sounding slightly different several years apart. Conceptually the sound may vary slightly because the mechanics has deteriorated or maybe have been repaired or because of mechanical errors. In the third twittering machine Bröndum was imagining a giant doomsday bird machine being cranked up creating a cacophony of sound. The first two twittering machines are free in tempo at sections, but the third twittering machine is strict in tempo like a military machine.Twittering Machine #3 is subtitled “Doomsday Machine” and is dedicated to Alfred Hitchcock as a reference to his classic movie Birds (1963). The composition is similar to the movie - a menacing and foreboding piece. There is also a subtle reference to Donald Trump’s uncontrolled Tweets that very likely could cause the doomsday. It is scored for Flute, Oboe, English Horn, Clarinet in Bb, Bass Clarinet, Contrabassoon, Horn in F 1, Horn in F 2, Trumpet in C 1, Trumpet in C 2, Trombone 1, Tuba, Piano, violin I, Violin II, Viola, Cello, Contrabass.Musical influences and inspiration for this work can be found in Oliver Messiaen’s bird calls found in pieces like Chronochromie (1960) for orchestra and György Ligeti’s cluster techniques in works such as Athmospheres (1961) and Chamber Concerto Music for 13 Instruments (1969/70). I also use indeterminate ideas pioneered by John Cage and Pierre Boulez.
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