My personal experience of watching digital music performed is often underwhelming, the music could just as well have been recorded. The lack of gestural playing and the reliance on visual feedback from the computer screen, the backside of which serving as a fence against the audience, prohibits the DMI and the digital music performer from receiving the same status in the eyes, and possibly ears, of the audience.

Performance of digital music is also far too often confined to pushing through a preprogrammed set of parameter changes, denying the musician the ability of intuitively reacting to the room, the audience and their fellow musicians.

In order to bring DMIs and the possibilities of digital sound generation into the performance of art music I needed an interface that allowed me to play intuitively with fragility and precision so that I could follow the flow of the music the moment someone lingers on a sweet note or improvises a cadenza. The ability to improvise therefore becomes a benchmark for how well the DMI is performing.

Several ideas guided the creation of this DMI

  • Giving a digital music the same status on stage as acoustic instruments
  • Freeing digital music performance from clunky computer/table bound interfaces
  • The importance of micro-modulation for placing sound in the real world
  • The digital as fragile and organic
  • Intuitive playing of digital music

Många röster talar

I wrote this piece using lots of aleatoric techniques to explore if I could intuitively play the instrument fluidly enough to communicate with the other musicians.

Ludwig Störholt on piano, Isa Holmgren on voice

Lyrics by Swedish poet Karin Boye

Octarion pieces 1 and 2

These are two traditionally strictly notated pieces. How would it feel to play melodic lines on the octarion, or trying to get those 16ths notes together at a fast tempo?

Saga Fagerström on flute, Sven Risberg on cello