Electroacoustic Works for Halldorophone
Martina Bertoni
Electroacoustic Works for Halldorophone
Boomkat Product Review:
Using the halldorophone, a unique cello-like electronic instrument, Berlin-based Italian cellist and composer Martina Bertoni triggers feedback loops to develop an intoxicating hybrid of medieval folk and faded, minimal drone.
Developed in 2008 by Halldór Úlfarsson, the hallodrophone was most famously used by Hildur Guðnadóttir on her 'Joker' score, but Bertoni approaches it very differently here. She wanted to avoid her musical conditioning, so tried to treat it not like a cellist would, instead using it more as a generative organ, hitting the strings and creating tuned feedback that would, in turn, trigger more feedback depending on the tuning. And since there's no line output on the instrument, just speakers, Bertoni captured the sounds with two microphones, using one to record the sound of the strings and another to grab the drones.
The end result is a curious collision of worlds; the tinny, metallic strings almost sound like zither or harp plucks on 'Nr.1 Omen in G', the lengthy opener, and they're trapped in Bertoni's feedback matrix. Notes ring out and cascade, echoing and distorting subtly as they're teased into long, resonant whines. And even though the root sounds are less prominent on 'Nr.2 Nominal D', we can still pick out the acoustic root point of each whirring tone. It's magical stuff that reaches a sublime peak on 'Nr.3 Fades in C', when the resonant, singing bowl-like tones coalesce into a layered celestial ritual.
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Boomkat Product Review:
Using the halldorophone, a unique cello-like electronic instrument, Berlin-based Italian cellist and composer Martina Bertoni triggers feedback loops to develop an intoxicating hybrid of medieval folk and faded, minimal drone.
Developed in 2008 by Halldór Úlfarsson, the hallodrophone was most famously used by Hildur Guðnadóttir on her 'Joker' score, but Bertoni approaches it very differently here. She wanted to avoid her musical conditioning, so tried to treat it not like a cellist would, instead using it more as a generative organ, hitting the strings and creating tuned feedback that would, in turn, trigger more feedback depending on the tuning. And since there's no line output on the instrument, just speakers, Bertoni captured the sounds with two microphones, using one to record the sound of the strings and another to grab the drones.
The end result is a curious collision of worlds; the tinny, metallic strings almost sound like zither or harp plucks on 'Nr.1 Omen in G', the lengthy opener, and they're trapped in Bertoni's feedback matrix. Notes ring out and cascade, echoing and distorting subtly as they're teased into long, resonant whines. And even though the root sounds are less prominent on 'Nr.2 Nominal D', we can still pick out the acoustic root point of each whirring tone. It's magical stuff that reaches a sublime peak on 'Nr.3 Fades in C', when the resonant, singing bowl-like tones coalesce into a layered celestial ritual.
Boomkat Product Review:
Using the halldorophone, a unique cello-like electronic instrument, Berlin-based Italian cellist and composer Martina Bertoni triggers feedback loops to develop an intoxicating hybrid of medieval folk and faded, minimal drone.
Developed in 2008 by Halldór Úlfarsson, the hallodrophone was most famously used by Hildur Guðnadóttir on her 'Joker' score, but Bertoni approaches it very differently here. She wanted to avoid her musical conditioning, so tried to treat it not like a cellist would, instead using it more as a generative organ, hitting the strings and creating tuned feedback that would, in turn, trigger more feedback depending on the tuning. And since there's no line output on the instrument, just speakers, Bertoni captured the sounds with two microphones, using one to record the sound of the strings and another to grab the drones.
The end result is a curious collision of worlds; the tinny, metallic strings almost sound like zither or harp plucks on 'Nr.1 Omen in G', the lengthy opener, and they're trapped in Bertoni's feedback matrix. Notes ring out and cascade, echoing and distorting subtly as they're teased into long, resonant whines. And even though the root sounds are less prominent on 'Nr.2 Nominal D', we can still pick out the acoustic root point of each whirring tone. It's magical stuff that reaches a sublime peak on 'Nr.3 Fades in C', when the resonant, singing bowl-like tones coalesce into a layered celestial ritual.
Boomkat Product Review:
Using the halldorophone, a unique cello-like electronic instrument, Berlin-based Italian cellist and composer Martina Bertoni triggers feedback loops to develop an intoxicating hybrid of medieval folk and faded, minimal drone.
Developed in 2008 by Halldór Úlfarsson, the hallodrophone was most famously used by Hildur Guðnadóttir on her 'Joker' score, but Bertoni approaches it very differently here. She wanted to avoid her musical conditioning, so tried to treat it not like a cellist would, instead using it more as a generative organ, hitting the strings and creating tuned feedback that would, in turn, trigger more feedback depending on the tuning. And since there's no line output on the instrument, just speakers, Bertoni captured the sounds with two microphones, using one to record the sound of the strings and another to grab the drones.
The end result is a curious collision of worlds; the tinny, metallic strings almost sound like zither or harp plucks on 'Nr.1 Omen in G', the lengthy opener, and they're trapped in Bertoni's feedback matrix. Notes ring out and cascade, echoing and distorting subtly as they're teased into long, resonant whines. And even though the root sounds are less prominent on 'Nr.2 Nominal D', we can still pick out the acoustic root point of each whirring tone. It's magical stuff that reaches a sublime peak on 'Nr.3 Fades in C', when the resonant, singing bowl-like tones coalesce into a layered celestial ritual.
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