Liminum

For any number of sustaining instruments.This work develops Cat’s work with bass frequencies, drone, glissandi and mobile scores. At certain points in the score, the instrument is sampled, pitched down using an octave pedal usually applied for electric guitars, and played through a bass amplifier. A similar process happens with distortion. The performer reads the score in an automated player that interrupts and reverses the order of different players randomly, indicating changes in texture and effect. This piece began as a commission for trumpet player Callum G’Froerer, and has a flexible instrumentation – its first performance was for four bass clarinets, but it has also been performed with bass clarinet and viola, and trumpet and electronics. To perform this work, you need to read it on an ipad, using the Decibel ScorePlayer, which contains the score. Premiere: Shock of the New, Spectrum project Space, WA March 2012 Other Performances: Decibel, Small Things, State Theatre Centre, WA, May 2012 Peter Knight and Lindsay Vickery, Perditempo, Naples, Italy September 2012 Decibel, The Now Now, Red Rattler, Sydney, January 2013. Callum G'Froerer, ANAM, Melbourne, November 2013. Review Liminum collides electronic and instrumental sounds, as if in a centrifuge. Here instruments imitate a distorted electronic sound, as if taken from a horror film soundtrack. There is a dark ambience at work here, as the instruments are required to remain at the pace and tone of the sound, never rising or falling to the registers they are capable of. This is Decibel at their most interesting, as electronic and instrumental sounds flesh themselves out in relation to each other, here beginning to sound positively industrial as a violin twists through the amplification of pedals.” Darren Jorgenson, Realtime. 110 " with a quick stomp on an effects pedal the strings sound like High Rise, or some equally epic Japanese power trio on PSF." Oliver Liang, Cyclic Defrost. ‘sophisticated technology in the service of surprise’ Andy Hamilton, The Wire, 2013,

本作品适用于任意数量的持续发声乐器，延续卡特（Cat）的创作思路，围绕低音频率、持续音（drone）、滑音（glissandi）与流动乐谱（mobile scores）展开。在乐谱的特定段落中，演奏乐器会被采样，使用常用于电吉他的八度降调效果器（octave pedal）进行降调处理，并通过贝斯放大器（bass amplifier）播放；失真效果的处理流程与此类似。演奏者通过自动乐谱播放器读取乐谱，该播放器会随机打断并反转不同演奏段落的顺序，以此提示织体与音效的变化。本作品最初是为小号演奏者卡勒姆·G·弗勒勒（Callum G’Froerer）创作的委约作品，配器灵活——首演采用四支低音单簧管，后续也有以低音单簧管与中提琴、小号与电子音效组合的演出形式。演奏本作品需借助搭载了该乐谱的分贝乐谱播放器（Decibel ScorePlayer），在iPad上读取乐谱。首演：2012年3月，西澳大利亚州（WA）光谱项目空间（Spectrum project Space）《Shock of the New》演出场次。其他演出：2012年5月，西澳大利亚州州立剧院中心（State Theatre Centre）《Small Things》，分贝乐团（Decibel）演出；2012年9月，意大利那不勒斯《Perditempo》，彼得·奈特（Peter Knight）与林赛·维克里（Lindsay Vickery）演出；2013年1月，悉尼红响尾蛇俱乐部（Red Rattler）《The Now Now》，分贝乐团演出；2013年11月，墨尔本澳大利亚国立音乐学院（ANAM），卡勒姆·G·弗勒勒演出。评论：《利米努姆》（Liminum）将电子音效与器乐声响置于离心机般的碰撞融合之中。作品中乐器模仿失真的电子音效，仿佛取自恐怖电影原声。此处弥漫着幽暗的氛围感，演奏者需让乐器始终贴合既定的速度与音色，绝不超出其自身音域的起落范围。这是分贝乐团最具表现力的演绎之一：电子音效与器乐声响彼此交织、相互丰满，当小提琴通过效果器放大的音色扭曲盘旋时，整体音色竟带上了十足的工业质感。——达伦·约根森（Darren Jorgenson），《Realtime》第110期。“只需快速踩踏效果踏板，琴弦的音色便能媲美High Rise乐队，或是PSF唱片旗下那些气势恢宏的日本强力三重奏组合。”——奥利弗·梁（Oliver Liang），《Cyclic Defrost》。“以精湛技术营造惊喜体验”——安迪·汉密尔顿（Andy Hamilton），《The Wire》，2013年