Giles Mitchell. Concerto for Three Rooms. Opus 6.
Description and Structure.
- a love/hate of mass media.
- a need to say something against a college background that was becomming too traditional and 'quiet'.
to continue an idea about the seperation of sounds.
The concerto was very loosely composed:
- the first movement was approximately 20 minutes long, the second movement was minimally 40 minutes long (the concerto would theoretically have no end). - the sound sources were very loosely described as classical, electronic, jazz, pop music, voice tape loops, etc; the exact choice of sound source being made at the time of performance.
- the names and description of sound and visual producers used for example: 4 stereo tape recorders, 2 mono tape recorders and extensions, 1 video tape recorder and TV monitor, 2 slide projectors, live TV cameras, etc.
- the location of the sound/visual producers
- the location of the audience
- movement of the partitions between the rooms (as the concerto progressed)
- use of tape hiss, feedback, etc
VERY GENERALLY SPEAKING THE CONCERTO SOUNDED:
During the first movement a montage of sound sources (voice excepts, pieces of classical, pop, jazz, etc) was more or less submerged beneath a 'low moan' (the sound of white noise oscillating).
During the second movement the sound sources overwhelmed the 'low moan', and slowly changed to natural sounds etc.