Thinking on the famous work Presque Rien n. 1 of French composer and early musique concrète pioneer Luc Ferrari, my approach for Tension-Suspense... loosely follows this path… A spot in Bucharest, close to university square was chosen to record sounds of the city over a period of 24 hours. This material was edited out to a kind of time-lapse-sequence of these 24 hours in this particular location and time of the year. The sequences, representing the daily routine of a particular place in terms of sound, are my source material, it will be modified, deformed, mixed and arranged live. Tension-Suspense… represents a public soundscape which will be “transported” to, and naturally it’ll also be altered through (in terms of the space being a filter) the more private and closed cinema/concert space in Naples. The terms Tension and Suspense are traditional concepts in the movie industry and are defined as counterparts, while tension could be introduced very quickly, is short-timed and has to do with surprise, and suspense is a much more durational concept dealing with predictiveness (of the viewer / listener).

Notes on surround - Within my occupation with live sound (concerts) I am mostly performing with old school 4 channel setups because I consider this to be the most effective and plain way of dealing with spatial acoustics. Each channel receive a different sound or a variation of sounds played on another channel at the same time. In opposition to classical stage versus audience situations the four speakers are setup in a square around the centre (which becomes the ideal stage) of the room, facing inwards against the centre. The audience is able to move around or stay wherever they like, between the centre and the 4 speakers.

Bernhard Schreiner