iris ter schiphorst

Content:
In 'Transformationen' several layers of time and media are superimposed:

- the music play is based on an old recording of a piece (ergo-sum'pf'maschinerie) from 1989 (recorded at the time by the violinist Susanne Schulz and myself on the synthesiser/sampler), which was edited and reassembled for the 'Transformationen' series. The basis of the piece at that time was, among other things, field recordings that I had made in the 1980s with a Sony Professional in Spain at a certain waterhole and then edited in a Casio sampler (with 1MB storage capacity!). An infinite number of frogs had gathered at this watering hole every evening for their daily concert. Today there is neither a watering hole nor frogs - and the Casio-FZ1 sampler is only a term used in stories about the beginnings of sampler technology.
- The voiceover plays the recording of a voice from March 2022 reading the text of the above poem.
- The live musician adds another dimension of time and space.

In the 'real time' of the performance, different layers of time and space, long past, quasi 'archaeological' sounds from the feed, an acousmatic voice and the 'now' sound of the violin in concert are thus mixed together. In a way, this approach echoes the title and content of the poem 'Diepe tijd' (Deep Time) by Flemish writer Dominique de Groen. The term was introduced by the writer John McPhee in 1980/81 to describe a time dimension of millions or even billions of years that does justice to the slow evolutionary processes on earth. Such a view of time and evolution exceeds the capacity of human consciousness.

Technical information:
The playback consists of two audio files (44.1 khz, 16bit):
1.) the spoken text - beginning with a long pause
2.) the 'music' (stereo)
Both files must be started at exactly the same time. This requires appropriate playback software and a multi-channel mixing console

amplifier system:
For optimum projection in the room, different amplifier boxes are desirable in order to be able to separate speech, music playback tape and live music from each other.
- The music playback tape should form an acoustic 'frame' and encompass the entire stage space via large, powerful stereo speakers.
- If possible, the speech band should be projected via one (or two) extra box(es) placed on the stage - and thus mark a 'separate' space. It must be possible to understand the lyrics very clearly at
, both from the audience and from the musicians themselves (as it structures their various interventions).
- The live musician's violin should be amplified via local stereo speakers if possible. Its sound marks its own acoustic space in the playback environment. It must stand out acoustically from the music feed, thus acoustically representing a layer 'in front' of the feed. By 'before' we mean more 'directness', but also a little more volume (the feed itself contains clear reverb components, so it already seems 'further away' due to the way it is mixed).
The music feed is available in a dynamically mixed version. Depending on the room, it may be necessary to 'drive' the feeds and the live violin.

Microphoning:
If possible, the violin should be amplified with powerful clip microphones. Depending on the room, it may be necessary to add some reverb.
If available, the player should wear a headset to make the vocal articulations audible and integrate them into the overall acoustic picture. However, the clip microphone on the violin itself may also be sufficient to amplify the player's voice.

Live music:
Following the logic of the poem, the piece 'takes place' in the time after humans and thus belongs, if you like, to the genre of 'science fiction'. Accordingly, there is hardly any 'human' expression in 'Transformations IV' in the form of music as we are used to: Lines, progressions, phrases, bows etc. Instead, we hear cell-like, sometimes repetitive and slightly varying punctual figures that run parallel to the tape and harmonise in register with the tape. In their expression, these punctual sounds are sometimes reminiscent of the delicate lamentation of non-human beings. The sounds to be found are thus intended to appear 'creaturely' in their delicacy and indeterminacy. Only at the very end is there a 'traditional' musical passage reminiscent of (human) times long past.

Timing/coordination with the tape:
The dense musical interlude determines the piece. It defines sound spaces (registers, 'keys') that also influence the live music. The player must therefore be able to follow the music well in order to be able to 'play along' accordingly.
Attention! - the course of the feed is not always notated exactly! Also, the tempo is sometimes more fluctuating than is notated (e.g. that of the violin part of the long opening section);the spoken words are decisive for the overall coordination; they enable the time orientation and must be followed in any case! If necessary, certain note passages must be adapted/interrupted/faded out etc. if the feed and live music move apart. The material notated in the score is therefore to be understoodas a suggestion. It may be possible to deviate from this if the basic intention of the piece is retained.