There are many unusual techniques for playing the flute that, alone, produce quiet sounds, but with aid of amplification can yield new timbres. In the first part of the work, through the use of electronic delays , these sounds are heard in a triple canon.

They are amplified, but otherwise not altered. In the following second part, the flute’s is manipulated by a digital device. This device does not produce any sounds itself, but its prorgam triggers various sound reactions from the flute sounds. Thus, the composer may create a dialogue between the musicians and the machine as the real topic of his composition. (Catalina Peralta-Caceres)

Technical Background

HW / SW: Atari 1040-ST, Fader Master SW-Programm, Cubase 1.5

Catalina Peralta (COL), born 1963, studied oboe with L. Kaplan and M. Davis at the Conservatory of the National University of Bogota (1979-83) and music theory as well as philosphy and literature at The Andes University. Since 1983 she has been studying composition at the Vienna Music and Performing Arts College with Alfred Uhl, Thomas Christian David and Francis Burt. 1987-89 she attended a course in electroacoustic music with Dieter Kaufmann and Wilhelm Zobl. Her works have been performed at various festivals of New Music in Vienna, Berlin, Varadero (Cuba), Bogota and Medellin, at the Festival Kontakte VIII in Berlin 1989, and at the Ist Festival of New Music in Bogota 1989.