Trilogie d'Erreur (2015) was the second piece commissioned by the Groupe de Recherches Musicales in Paris (after Rythmes Naturels & before Coupigny [Redactions]) on the occasion of the 2015 Présénces Electroniques Festival; an octophonic work, scaleable from 8 up to 24 channels, in three distinct sections.

The piece incorporates three separate threads into a narrative whole: a standalone modular synthesizer composition composed & recorded in Halle, Germany during downtime in preparations for Dream Cargoes at the Werkleitz: Utopien Vermeiden festival; a series of generative canons recorded for a benefit compilation for the composer & synthesist Joseph Raglani, and a heavily augmented & resynthesized field recording made in the Shin-Okubo neighborhood of Tokyo, utilizing noise reduction algorithms to extract, then re-introduce a low-cycle electrical hum as a root-note.

As an opponent to the rapid-fire, 5-day 60-hour composition & completion process of the first GRM piece, the "Trilogie" was composed over a relaxed 6-month period in my Cambridge, MA office-studio & was designed to allow for interpretation & improvisation at the mixing console, in the style of the classic GRM "Acousmatic" events of the 70s. The piece was performed exactly once, on the 6th of March 2015, just before my multi-channel reconfiguration of Ilhan Mimaroglu's "Tract" at Le Centquatre's basement black-box theater utilizing François Bayle's original Acousmonium speaker-array.

You can hear a rendered-down-to-stereo excerpt of the source material to your right/below, along with a few videos made by the INA staff during the afternoon soundcheck & room-tuning / preparation processes.

Press & Further Reading:

Presences Électroniques (2015)