cello, electronic keyboard and electronics
Electronics with Live Performers, Cello
2 players/2 or 3 technicians:Electronic requirements: 1 sampler+keyboard(AkaiS1000) with 11 diskettes/1 harmoniser and reverb for vlc/2 DAT players with 2 DAT tapes/mixer and stereo amplification

Commissioned by IRCAM with help provided by the British Council

First Performance
27.6.94, IRCAM, Paris, France: Antoine Ladrette

Playing score and cello part 0-571-51727-7 and additional playing score 0-571-51888-5 on sale. A link to the electronic resources necessary for public performance will be supplied by the hire library upon request (

Programme Notes

“About the first century (AC) buddhist teaching coined the word ‘advaya’. It means ‘not two’, and it points at transcending duality. We may be under the spell of a certain illusion, but we realise that our illusion and its objects come from the same root. In other words we transcend the duality of the division into subject and object in the sense that we intuitively sense and realise that both emerge from the same cosmic ground”. (Lama Govinda) All sounds used in this piece derive from the cello; some are processed live, others were recorded and then processed in depth in order to be played back on compact disks or by a sampler keyboard. Many of the sounds were made by analysing passages of music played by the cello and then resynthesising the music from this analysis, altering the inner structure of the sound (the spectrum) in the process. A hierarchy of “compressed spectra” from consonant (the natural harmonic series) to unstable was built up: the consonant centre is A (220hz), the first string of the cello. Cello and electronics are usually concerned with the same musical material at any one time, though sometimes at different speeds. One cello motif, for instance, which lasts 4 seconds, is stretched by a technique which cuts the motif into tiny granules and then scatters them in large quantities to a duration of two and a half minutes. My thanks to Régis Mitonneau, Eric Daubresse and especially Cort Lippe for their invaluable help with the electronics, to Antoine Ladrette for recording the cello material, and to the British Council for its generous support. Jonathan Harvey

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