Doepfer

Well........ yes and no..... this kind of thing works differently in different environments but it still works. I suppose a very small room wouldn't work but other than that there will still be standing waves and subtle shifts. The idea is a quite large room with the audience (if I had one!!!!!!) able to move around the space and hear the different parts of the room. And a small audience is best as their bodies deaden the sound.

David

www.movingisliving.co.uk

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On 14 Dec 2015, at 21:53, isoldeisobelle@gmail.com [Doepfer_a100] <Doepfer_a100@yahoogroups.com> wrote:

David - as you understand, the type of compositions that you are working towards always rely on the space that they are intended to be played out in to... the natural reverberant and resonant qualities are site specific to the piece and integral to it.

A few years back I attended this:
Triptych: The Music of Eliane Radigue | Sound and Music

Triptych: The Music of Eliane Radigue | Sound and Music

Sound and Music presents the first major UK retrospective of the work of Eliane Radigue, one of the most celebrated and influential of living composers.

View on soundandmusic.org

Preview by Yahoo

... although for the most part, the live performances involving instrumentation did work in their settings, the event involving pre-recorded pieces played within the church were extremely flat and lifeless and, unfortunately, were widely reviewed as such at that time.

It is a regret of mine that I was never able to attend any of the installations of Maryanne Amacher, there are a few of her own pieces available on CD, but, again, you will find the reviews for them rather disparaging because her work, like Éliane's, often heavily relied on the place it was intended to be performed within.

It is always interesting and encouraging to hear of artists who wish to further this form and I wish you well in your own endeavours. :)