places/place (2018) divides the performers into two groups. The outer performers listen to different soundscape recordings and work through a prose score indicating how to react to the sounds that they hear. As the piece progress, there is an ever stronger cross-over between the sounds coming from their headphones and those produced by other performers, to the point that they can no longer hear the recorded material. The abstraction of place has been used to a new, otherwise unachievable ‘composite place’, a conglomerate of the simultaneous interpretations of several soundscapes including the one that is being created. The central ensemble function as an ornamentation of the process going on around them. The conductor is given sonic cues and brings in the group’s ‘fragmentary ripples’ accordingly. These ripples go on to affect the listening experiences and subsequent playing of the outer ensemble. Through setting up both of these groups, an unstable social creative force is momentarily brought to life before gradually seeping back into the ambient sounds from whence it came.

Performed by LSTwo, directed by Mic Spencer.

Written for LSTwo. Performed at the University of Leeds, 8th December 2018. https://livestream.com/uol/lstwo-19?t=1544396044&fbclid=IwAR05jndrV-pBVcol-k_AirYwSsvntW0d4zr_3Guk2-NbGKLoj4FVFdlieJc places/place divides the performers into two groups. The outer performers listen to different soundscape recordings and work through a prose score indicating how to react to the sounds that they hear. As the piece progress, there is an ever stronger cross-over between the sounds coming from their headphones and those produced by other performers, to the point that they can no longer hear the recorded material. The abstraction of place has been used to a new, otherwise unachievable ‘composite place’, a conglomerate of the simultaneous interpretations of several soundscapes including the one that is being created. The central ensemble function as an ornamentation of the process going on around them. The conductor is given sonic cues and brings in the group’s ‘fragmentary ripples’ accordingly. These ripples go on to affect the listening experiences and subsequent playing of the outer ensemble. Through setting up both of these groups, an unstable social creative force is momentarily brought to life before gradually seeping back into the ambient sounds from whence it came.