Ingvar Loco Nordin: Frounberg's Nightingale

photo: ingvar loco nordin


Variation 1. [20:41 ]
Variation 2. [20:41 ]
Variation 3. [20:41 ]

One microphone on the balcony (I dismantled a bookcase and moved a table, and got access to my antennae-ridden balcony for the first time in 15 years!) and one microphone in my study – and Ivar Frounberg’s A Pattern of Timeless Motion on the stereo… and then some post-recording mixing in two stages, resulting in three different – but cohesive – variations on the theme Frounberg’s Nightingale!

Yes, I allowed myself a lot of freedom whilst focusing my attention on this haphazard sound environment, and I suppose it isn’t clear that I can use Frounberg’s piece as a part of a sound environment, but I challenge the limits of copyright here and let the birds and mopeds dance in the
Timeless Motion of Frounberg!

photo etcetera: ingvar loco nordin

As for the illustrations, two of them stem from a bike ride I did to the costal town of Oxelösund, Sweden right before “composing” this work, one is from a Police Authority seminar in the Social Democratic haven of Bommersvik, Sweden (with amassed gifts to Olof Palme from North Vietnam and Tanzania around the halls) a few days before the conception of Frounberg’s Nightingale – and one (the Mickey Mauser shot!) was shot at Tistad Castle outside Nykoping, Sweden (Shitville), about a week before the recording.

photo of viola nordin, 94 years old: ingvar loco nordin

Musically, the sound that I achieved without trying very hard reminds me of some of the sections of dreamy pieces by French electroacousticians like Françoise Bayle, Xavier Garcia, Marc Favre or Jacques Lejeune, but those names are dropped just for reference; I DO NOT compare myself with those heroes of mine! I’m just calling your attention to those atmospheres of turned-away dispositions, of highly focused absent-mindedness (the child playing with bucket and sand under the Western wind), those midday moments of hidden-away Mediterranean gardens, the sound of distant church bells carried on the wind, seeping into your enclosure…

photo of the composer standing his ground: hans ake runell

Equipment used: Edirol R4 hard disk recorder, two Sontronic STC-1S microphones (the balcony microphone set to cut anything below 150Hz), Macintosh computer with Alberto Ricci’s SoundMaker and Michael Norris’ filters (+ coffee)
And remember: only the worst is bad enough!