I composed Late Lines in early 2013 by working closely with the cellist Severine Ballon to develop a palette of extended sounds and electronic processing techniques. The first performance of Late Lines was by Severine at City University, London in June 2013. The performance was recorded, mixed and mastered by myself.
My four-channel remix of the piece (Late Lines remix) is presented here as a fixed sound installation. Re-presenting it in this way raises questions of finished-ness and fidelity. What are we hearing? Are we listening to a recording of the live performance? Or a new work? Or something in between? (A resurrection?) It is an evolution of the piece, a new aspect of the performance, in a different space and time. An overlap. What aspects of sound and performance are foregrounded in this new format? What is lost?
The question of finished-ness is particularly relevant to a work such as this where collaboration between the composer and instrumentalist was crucial in its development. When performed by a different cellist, or the performance is played as a fixed installation, how much is the same? How much is different? It is a new work, but also a continuation.
Georgia Rodgers is in the second year of a PhD in Music Composition at City University, London, studying part-time under the supervision of Dr. Newton Armstrong. She specialises in music for acoustic instrument and live electronics, with a particular interest in spatiality, temporality, the perception of sound and the human experience of listening.
Georgia holds a BSc in Physics with Music and an MSc in Digital Composition and Performance, both from the University of Edinburgh. Georgia also works part-time as an acoustician for a firm of consulting engineers
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