norbert walter peters
composer• sound artist
2010 dépôt de beau songe
(The Archive Of The Beautiful Dream)

2009 (op. 26/28)  

for 5stringed e-bass con arco
(Janko Hanushevsky, Cologne),
voice (Max Volkert Martens, Berlin),
tenor (Gunnar Brandt-Sigurdsson, Hamburg),
further voices: Prof. Dr. phil. Walter Huber and
14 patients of the Aphasia Ward of the
Neuro-Lingustic Department of the
University Medical Center Aken;

dépôt de beau songe is an assignement
for composition by the
Deutschlandradio Kultur
Berlin and was produced november 2009
in the Aphasia Ward of the
University Medical
Center Ake
n and at the beginning of 2010
in the studio of Janko Hanushevsky as well as
in the studios of the
Deutschlandfunk Cologne
and the
DLR Kultur Berlin.
First Premiere: 2010-03-05 'Klangkunst'
DLR Kultur Berlin

„dépôt de beau songe“ („The Archive Of The
Beautiful Dream“) is a junction of the Audio Piece
„beau – une féerie dialectique“
(opus 26) concieved in 2005 with the Audio Piece
„dépôt – le cerveau mégaville“ composed two
years later.
Cryptologist of the past
More than a decade I have approached
– step by step – to the work of
Benjamin. Walter Benjamin as „cryptologist of
the past“ accounted the „cultural studies as
decryption operation“ , like
Christian J. Emden
has expressed. In this sense the historian
Benjamin was actually always – through his
thinking – present in my artistic work: in
locating an energetic trace and in tracing
auratic references.

Paris, capital city of the 19th century
After my stay of two weeks in Paris in the
studios of
Radio France at the beginning of
2005 the idea figured out now to set the
Passagen-Werk“ to the topic itsself quasi to
affect „Paris, as the capital city of the 19th
century“ as reminiscent on me. Like my title-
discovery „songe“ already signalizes „the optics
of the dream should be aimed to the alert
world“, like
Rolf Tiedemann as editor of the
writings of
Walter Benjamin has expressed.
A „piece of dialectical legerdemain“, like it was
designed by
Benjamin as original title of the
à la recherche du temps perdu
For an approach to the ‚large thought building’
of his writings collection I allowed conducting
myself by the analysis of
Adorno that Benjamin’s
idea comprised to mount the work by citations so
that the theory quasi pops out. My choice by the
immense fulness of citations so rests in line
absolutely subjective, both which even approached
these limit choice up to 20 textes of the
Passagen-Werk itsself and its confrontation
with two text positions of
Marcel Proust’s
„Recherche“ as well as three extracts from the
letter communication of
Benjamin. The used languace material performed by the narrator
and the singer is unexceptionally German and French.
The Neurons of the Megacity Paris
My in 2007 composed radiophonic work with
the title „dépôt – le cerveau mégaville“
(„The Archive – The Brain Megacity“) in this
progress has clearly orient itsself to important
questions in an essay of
Wolf Singer, director
of the Max-Planck-Institut for Brain Research:
„It is worth for various reasons to link the
structures of towns with the organisation of the
brain.“, the neuro scientist explains in his
script, published 2002 :
'The architecture of the
brain as model for complex urban structure?’
„Both systems are composed from a
multiplicity of components intimately
connected with each other, which in high
dynamic manner interacting together, and both
systems are the result of an emerging process
which in essence bases on main principles
of self-organization.“
Depositing of remembrances
My artistic work „dépôt“ – the
memory, the
archive, the station respectively the French
word ‚déposer’:
depositing of remembrances
is the chronological and spacial reprocessing
of events and perceptions on sites of a
Megacity: in this case Paris. The structural
form-composition even provids me these
subjectively reminiscential moments of stays
in this Megacity in a distance of five years.
The mode thus forms itsself from recurrent
processes producing a net-work: a recurrent
net-work of jointly connected neurons treats
informations not only in a closed circle but
feeds them in turn with informations from
previous states – in so-called self-contained
Sound–, language– and noise-actions
are therefore related to per one’s own
metrical bar specification of temporal
divergent planes.
(also look to the score-scetch above)
The microstructure of the nervous system
sound sector is produced by the 5stringed
e-bass – played with the bow – in the tone
range of 28 to 48 Hertz. „Neurons in the
Wolf Singer writes, „reveal oneselves
thus as belonging together by synchronizing
their activities – this processes of synchronosation
takes place on the basis of oscillations in the
range of 40 Hertz.“ The
language sector for
„dépôt – le cerveau mégaville“ is – also as
analog reference to the neuroscience –
subject to aphasic diseased people, who only
limited have no command to their speech
control and who need much more energy for
the language processes. For the
noise sector
which produces the analog reference to the
Megacity I have chosen a very pregnant noise
from the
Gare du Nord in Paris: the continous
turn over of the large fall-sheet-indicator.
A permanent counterpoint of noises is still
the subliminal courtship motive of a ‚pitched’
Through an assimilation process of all temporal
diverging planes finally a mounting of both
pieces is becoming possible.

to dépôt de beau songe (selection):

„I have listen to it with a great interest.“

Wolfgang Becker, once director:
Ludwig Forum For International Art Aken

„I am just appeared out of the darken,
fascinating sound-world of 'dépôt de beau
songe'. I think, it has becoming a very dense
work, in any case an intensive audio adventure.
Especially exciting I enjoyed the intersection –
which "dépôt" presents – between O-Ton to
a medical phenomenon (which certainly points
afar furthermore) and between the text plane
and the music, which as an own entity
circulates around the speaking persons like a
coat. It was also a dispiriting experience to
listen to the aphasic diseased people, and it
has raises a lot of questions what this factor
language means to us, and how self-evident
and how daily routine it means to us ...
Once more thank you for an exciting work.
I am happy that I now became aquainted with
the arco-method and that I have learnt to play it.“

Janko Hanushevsky,

„Something amazing resulted from it. It also
delighted me to be present with your project.“

Gunnar Brandt-Sigurdsson,

„Your really made me a great joy! I have
listened to your work with admiration, and after
the event many a things becoming certainly
understandable for me what the duct of
language a. s. o. means. An honor for playing
a part at it!“

Max Volkert Martens,

"Thank you for your delightful sound (post-card)."
Igor Likar,
Radio Slovenia ARS3

Szene aus "Meriterechkima"

radiophonic theatre- and spaceproject

2004 (opus 25)

for an older male voice (Heino Cohrs/
Rainer Krause, Aken), a younger male
voice (Karl Walter Sprungala, Aken),
a younger female singer (Patrizia Herborn,
Aken), electronics (Guy de Bièvre, B), tape

live: theatre Aken 'mÖrgens'

"mériterechkîma" treats different time plans:

• the 'ritual of the preparation' of a suicide
assassination attempt, as it was
bequeathed in the so-called "Spiritual
Guidance of the assassins of the 9/11" in
Arabic language;

• the moment of the shock frozen in the
after an assassination attempt,
or the working up of this traumatic
experience in new-Hebrew language, like
it is documented in the SPIEGEL on the
basis of an interview with the Israelite
best-seller authoress Zeruya Shalev, 44;

• the description of the salvage operations
into English, German and French:
after each attack in Israel the
Zaka-Organization moves out for the
salvage of the mutilated victims. Its
meaning is represented as a
perpetuating operational sequence of
religious regularity: the voluntary helpers –
all throughout orthodox Jews - do not leave
a place of action, before not also the last
blood drop is taken up;

• the chronological transformation of the
semantics of the HEART, which now seems
to have experienced a revaluation of its
value after its over 4000 years lasting
development of semitic language and
semitic culture: to start from the
old-Egyptian text of the "Myth of the
Sky Cow", where the 'HEART-tired' God
Re imposes the conflagration over
past the so-called 'Stagnation Instruction'
of the HEARTs to the people of Israel in
Jesaia 6.10
until the adaptation of sufistic tradition
of Islamic terrorists: as cleaning of the HEART.

to mériterechkîma (selection):

"I have listened to your mériterechkîma,
its interresting and a great work."

Peter Kristiansen,
Danish Radio Kopenhagen

"I took pleasure formally most in the
continuous elements, so the high
fear-exciting sound or however the
dark pulse.“

Helga de la Motte
music scientist, Berlin

„I highly appreciated listening to it and I
always enjoy following your work.“

Magnus Florin
Sveriges Radio Stockholm

Dear Mr. Peters,
in all the work I only now had time, to listen
to your piece and congratulate you to an
oppressing, dark, touching work. Naturally I
miss the space impression, but alone by
hearing it in ‚flatten’ way I can feel, that the
performance must have been very
impressive. The multilingualness is thereby
a particularly beautiful trick. It continues to
break open the saying still further in facets,
and the big civilization and culture, which
is in the languages, still intensified the
scandal, which the terrorism always
represents, as always it may itself justify.
I do not know, whether I can reconstruct
the selection of the noises in each place,
also I would probably have wished myself a
more French "native speaker", but that it is
irrelevant. Idly, to ask for a few details,
because the whole evokes rather exactly the
atmosphere, which I also intended, when I
wrote my report *.
I am thus very delighted, that my text was
an inspiration to you and that a piece of art
arises from it, an important, as I find. Because
it is very hard, to adept adequately the
subject of terrorism in our ideologically
charged time - and above all: not to forget
the victims. You and your piece go the
correct way, by reminding of the human
core of the procedures, and by not giving
simple answers on extremely difficult questions.
Cordially greetings,

Ullrich Fichtner,
DER SPIEGEL Rédaction Paris
(* about Jehuda Meschi-Sahaw and his
ZAKA-organisation of orthodox jews in Israel).

""I took a quite pleasure in the composition."

Manfred Hess, HR Francfort

"It is - concerning the subject and the
material - an impressed project."

Dr. Götz Naleppa
German Radio Culture Berlin

A journey into the universe of
sounds - Peter's work, which
text materials had to do with
Palestinian suicide assassins in
Israel, impressed on a certain
inevitability. This does not only
apply to the sounds interspersed
into the words of the tape,
which suggested sometimes
some kind of burden ... A
stereo-Effekt was added,
nevertheless the spectator seats
were distributed through the space.
This spaciousness of hearing
attended to an inner realism, which
was additionally underlined by the
reduced actions of the three performers.
Language and artificial sounds
interlocked here impressively ."

Aachener Nachrichten
Feuilleton 05-06-06

score to Notathion
nota.thión - après le Déluge
after the Flood

2002 (opus 22)

for male children's voice (Bilel Alibert, Paris)
and male voice (Mario Haniotis, Paris †)
as narrators; female voice (Nathalie Joly,
Paris), violoncello - sounds and noises
(Daniel Raclot, Paris).

nota.thión - après le Déluge is an
assignment for composition by
Radio France Culture Paris
in co-operation with: DLR Berlin and with
the promotion of the Goethe-Institut Paris
first transmission: 27.03.2005

Le texte en français

An intention of this work stands together
in the crossing of two artistic expressions:
the literary Hear Piece and the
contemporary musical composition.
Language is sound and music becomes
the medium of epic articulation whereby
the possibilities of radiophonic recording
technics became up plumbing to its limit.

In substance the Ars Acoustica piece
of 47 minutes is based on the writing
culture in the early Oriental high cultures
after the legendary flood and analyses
artistically the human trauma of the
catastrophe. Concrete starting material
of "nota.thión" – the ‚notation‘, the ‚sign
writing‘ – is the description of the flood
in the Gilgamesh Epic emerged before
more than four thousand years.

With its vertical and horizontal sound
events, the composition organizes itsself
structurally in two levels. The first level is
the ‚telling rail‘: from the old male voice
and the boy’s voice are cited verses of
the original cuneiform script in Assyrian
from the Gilgamesh Epic, which represent
the events of the flood occurrences.
The transporting of the epic contents
stands fewer in the foreground, than as
such the sound of the language.

In the second level the female voice
‚comments‘ the text events with
old-Oriental text fragments: Hurritic
defensive passages, old-Hebrew
prayers, Hethitic incantations, Akkadian
evocations or old-Egyptian poetry. The
female voice 'communicates' with the
violoncello as the instrument, that bears
resemblance of its sound situation at
the next to the human voice. Passing
through different string tunings and
various metronome specifications, the
string instrument produces manifold
subtle percussive noise- and bow effects.

to nota.thión (selection):

„A friend in New york have a fragment
of your composition "nota.thión" ... I
am faithful listener of your music and I'd
like to share with my radio station listeners
your extensive stock of music. Your work
is a valuable contribution to my human
and cultural growth.“

Gustavo Bustamante Mesa
Radio UCO Colombia

„I listened to your
opus with interest –
it’s a remarkable story with a great
intensity and mental purpsefulness.“

Orests Silabriedis,
Latvian Radio Riga

"To nota.thión I have listened very much
with pleasure."

Andreas Hagelüken, RBB Berlin

"I was very intrigued and impressed."

Magnus Florin
Sveriges Radio Stockholm

"A handsome and interesting production."

Manfred Hess, HR Francfort
Peter Kristiansen, DR Copenhagen
Juraj Duris, SR Bratislava
Maja Baralic-Materne, RBH Sarajevo
Hannes Valdma, ER Tallinn
Zdenik Boucek (†), CR Praha

"I think it's a beautiful, albeit at times
quite threatening work."

Kate Mead, Radio New Zealand

"Constitué à partir de langues
anciennes disparues, vieil assyrien,
vieil acadien et Hittite, le texte résonne
de la sonorité des mots, constituante
essentielle de la partition, répondant
aux timbres percussifs et inouïs du
violoncelle en une troublante alchimie
sonore. Conçue dans le plus pur esprit
des musiques structuralistes américaines,
la pièce mêle subtilement des structures
rythmiques répétitives sous une
polyphonie vocale symbolisant les trois
âges de l'humanité."

Philippe Langlois,
Radio France Culture Paris

"J'ai été complètement 'pris' par ton
oeuvre: c'est vraiment superbe et je
trouve ta pièce littéralement 'envoûtante';
je la trouve hors du temps: tout en
ressentant un passé très fort, on se
sent à la fois dans le présent tout en
s'imaginant dans un temps qui n'existe
pas encore: l'avenir!! J'ai été vraiment
ravi d'avoir participé à la naissance de
ton oeuvre.Merci et BRAVO!"

Daniel Raclot, 1e Soliste d'Orchestre
Philharmonique de Radio France Paris

"Dear Mr. Peters, you have composed
a real 'hear piece'."

Prof. Dr. Helga de la Motte, TU Berlin

Bernhard Luers with the boomerang-machine

né-tchr - a music story
(opus 20)

for female voice (Ruth Geiersberger,
Munich), deep male voice (Bernhard Lüers,
Aken), childrens voice (Miriam Löhr,
Aken), percussion (Dirk Rothbrust,
Cologne), boomerang-machine
(Dr. B. Lüers), direction: the author

né-tchr - a music story an order work of the
DeutschlandRadio Berlin was finished in
september 2001 and was produced
with the swr-Baden-Baden in
august 2002
first transmission: 2002-12-06 DLR Berlin

Claudio Monteverdi's opera "Orfeo" was
my original point of fixation, from which I
proceeded to develop a 'chamber opera for
the medium radio'. Orfeo, is the magic
singer and - as shamanistic reminiscence
of cultural memory - wanderer as well as
mediator between the worlds. With this
central-, lower- and upperworld I found so
to say a three-membered formula and
consequently a first structural building block.

Monteverdi's 1607 proceeded multilayered
'Favola in musica' reflects then also a
'magic speech', for having an effect on me
in this sense as starting point for a type of
archaic 'music history'. "né-tchr - a music
story" won shape as thought play in the
summer 2001. A thought play, which
internal structure of the multiples references
and allusions I followed or better: which I
held in my mental phantasy for 40 minutes.

"né-tchr", which does not sound from
approximate like the English word 'nature' -
'the nature', 'the character', 'the condition' -
is the phonetic rewriting of the old-Egyptian
term for God: n-t-r. This word 'náter', like
the Aegyptologian says, the first in writing
shown word creation - hieroglyph -,
symbolizes in the archaic Egypt as
bind-acted throw wood the godlike
absolutely. Here the boomerang, the
'uncanny spirit voice in the wind', is
symbol for the return: the shamane or
priest, which sends his throw wood like
an oracle, in order to demonstrate all
bystanders 'the becoming rebirth in the
wind' before eyes and ears.

In the archaeology 'ship of the renewal' is
a term for the representation of cult ships,
which in Egypt, in the Megalithic graves
or in Scandinavian rock pictures were
found. The latter Scandinavian petroglyphs
indicates also mostly additional figures of
so-called 'returnees' both for right-handed-
and for left-handed people.

A further mosaic stone in the overall view of
these culture varieties is the so-called 'soul
stone' from La Pasada on Gran Canaria.
This labyrinth-like thing - a petropglyph in
the proximity of an ancestor cemetery of the
Guanchen culture - symbolizes in my eyes
the coded message of the return, whereby
the individual chambers of the labyrinth
result in an arithmetic model: 6 + 5 + 4 + 3
+ 2 + 1 + 0 + 1 + 2 + 3 + 4 + 5 + 6. If one
follows in thoughts of this arrangement of
the connected labyrinth chambers, then
results a clockwise rotating circular path,
which is in-led into the focal point and led
back in an anti-clockwise rotating circular
path again. A thought, which flowed as form
principle into my Ars Acoustica project.

These descendants of the
CroMagnonHumanBeing felt the heart not
only as the central organ of the vitality, but
above all also as the seat of thinking and
the understanding. 'To hear God with the
heart', becomes the central moment of a
religious idea. In this sense I used five text
fragments as phonetic material, those from
the vocalists: Bernhard Lüers, Ruth
Geiersberger and Miriam Löhr as tone
to be intoned, whispered or breathed.
Text fragments from cultures, which take
up the different aspects of the heart term.
So to say I have hereby transferred
Monteverdi's use of the Anima into the term
of the heart.

Thus after an 'ouverture', in which the
percussionist Dirk Rothbrust kindles a noise
scenario, there is a type of '1st act' in 'the
central world'; title: "The hearing HEART -
the discussion with my ANIMA." -
"netháthel: thitis.ema.jebá.neHát.anewí:
men.netúj.snete", which has been
transferred from the old-Egyptian with
the phrase: "I have given you into my heart,
because you are strong, (you)
defender; see: I have no more fear.".

There is a '2nd act'; title: "My HEART
complains on - mourning for my ANIMA." -
"Plañü niz bihotzetik/gaitzazerdü dan han
eztakik/trizter nesija habateka türik.", the
beginning of a Bascian song, in which the
complaint of the heart is described.

In the 'underworld' follows the '3rd act'; title:
"My HEART - my ANIMA - is dead." -
"soncho-kuna-nku wistschui-ni-ka-nku
tschiki-pi/soncho-kuna-nku wanjui-ni-ka-nku
tschiki-aitscha-manta-nku-pi", which -
translated from the Quichua dialect of the
Inkas - results in the following wording : "Your
hearts are lost in sin/their hearts are dead in
their carnal sins."

It follows the '4th act'; title: "Release my
HEART - my ANIMA.", "tsaw-raw'oot
lay-hawh' w'i-rew-khee-h'oo/mim-tsoo-
kaw'-taj yaw'-tseew'-eele", as old-Hebrew
quotation from the Psalms of David:
"Release my heart from fear/
lead me out from the distress."

In the 'upper world' there is after all as
final a '5th act'; title: "Blow up the node in
my HEART - I detect the ANIMA as the
Self." - "bhydyate hrdaya-grantis/chidyante
sarva-samsayaach/ kschiiyante tschaasya
karmaani/drschta evaatmaaniisvare",
this is Sanscrit and is called translated:
"In such a way the node in the heart will
blowing up/and all doubts ruins into pieces/
the chain of the fruitful actions has an end/
if one detects the Self as master."

Regarding the compositorical aspect it was
a substantial thought to simulate the tone
of the boomerang in the studio; to adapt it
therefore to the harmonious vertical ones,
i.e.: 'tuning' it apiece to the five tones
E - G - A - H - D and illustrating at the same time
the course of time of the returnees on the
horizontal axle. The large studio of the
Südwestrundfunk Baden-Baden was also a
sufficient space, in order to demonstrate
the boomerang-machine, which the scientist
Dr. Bernhard Lüers developed as it were as
an instrument for this project.

Explanation of the title né-tchr - a music story:
• an bind-acted throw wood applied in the
archaic Egypt (approx. 4000 b. Chr.) as the
first hieroglyphic for "God" (ntr)
• reference up: boomerang as 'spirit voice',
shamanistic oracle and symbol for the
• the term "the hearing heart" - "The heart
as center of the vitality of humans became
for the first time in Egypt the symbol of the
perception: 'Whom God loves, he hears;
but God hates the one who does not hear ...
'(Ptahotep, wisdom teachings, 2. Section)."
quoted out: Hellmut Brunner, "The
Hearing Heart", 1988
• phonetic modification of the English term
"nature" (nei'tche); reference up: the
meaning nature, the nature, the condition
a music story; reference up:
MONTEVERDIs sub-title of the Orfeo
"Favola in musica" (1607); reference up:
the thought play of an archaic music history
means "to be born" in the French
sense of rebirth; ethymological relationship
of the term tw (tchu) in the old-Egyptian
for wind: "To be reborn in the wind".
ntr an extended meaning level means nj-tr
("Coming from the poplar tree");
reference up: the poplar roaring, a
'musical' motive, which are to be found for
approximately 14 years in my work - in
particular the sound installations (the
poplar tree an alter ego).

to né-tchr (selection):

„I have sensed a sensitive, monoton
ritual with clear influences of
non-european thinking of structures,
I have experienced an exciting atmosphere.“

Folkmar Hein, TU Berlin studio of electronics

"I may congratulate you to a
predominantly succeeded and
impressive work! ... And the last section
is really furios. I was enthusiastically ... I
am much pleased to be able to
transmit this piece."

Dr. Götz Naleppa,
DeutschlandRadio Berlin
first transmission: 06.12.2002

"ne-tchr pleased me very well. The
moment, where the voice begins is

Prof. Dr. Helga de la Motte, TU Berlin

"I found it fascinating."

Dave Carley, CBC Toronto

"Ce pièce est très bien!"

Thierry Genicot, RTBF Bruxelles

"Your pieces are totaly exuberant! - né-tchr
sounds exquisite!"

Armeno Alberts, nps Hilversum

"The work is full of wonderful sounds
... I will put this piece aside and suggest
it as a possible piece for that series on
our stereo FM network next year."

Matthew Leonard, Radio New Zealand

"We do like your work very much and
will keep it in mind for our 2003

Robyn Ravlich, ABC Sydney

"As a music piece, therefore something
semantic emptiness, I hear the
composition with delighte."

Susanne Hoffmann, NDR Hamburg

"Interesting work and fascinating world
as well."

Magnus Lindman, SR Stockholm
Bernhard Luers with the resonator

(opus 16)

for deep male voice (Bernhard Lüers,
Aken), percussion (Dirk Rothbrust,
Cologne), electronics,
direction: Stefan Fricke, Cologne
production: Saarländischer Rundfunk
first transmission: 2000-05-23 SR2Kulturadio

The radio piece CavæTóna developed in
1999 from the occupation with the parietal
art of upper paleolithic cult caves and with
the rituals of the schamanisme.

Above all I utilized the research results of
french music archeologists: a very deep
male voice is able to produce sounds in
certain places of the the space of the cave;
through it is sensational that these points
of resonance are to be found similar to
certain pictures and signs.

In this project science and ars acoustica
touch themselves in various ways. The
bassist and scientist Dr. Bernhard Lüers
(Aken) developed a resonator from PVC
pipes thereby especially for the production
of the Saarländischer Rundfunk in the
year 2000, in order to create the
(fictitious) simulation of a cave situation.
In this cave the shaman singer (to the
extent of the contra-oktav) carries out his
ritual in ethnical languages: Navajo
dialect, old Egyptian, Tibetian, Sanskrit,
Celtic, Aborigine dialect . The ritual is
supported by the play of the
percussionist Dirk Rothbrust, who
plays on authentic instruments:
a. o. t. drums, rattles, Schwirrholz,
flint instruments.

to CavæTóna (selection)

"I find it as amazing as the photographs
... thank You for the opportunity of hearing
Your powerful piece."

Andrew McLennan, ABC Sydney
transmission: 2002-02-04

"Step back in a 'concert' area, thus into the
objektivable duration of a performance
and again a step beyond at the same
time Norbert Walter Peters is gone
with the radio piece CavæTóna (CaveTone)
... The need of definition is preserved
in view of the question: is that a music piece,
a radio composition, a radio play or something
else? The praticability of the piece which revives
again and again as production in the
reproduction, leads it back into traditional
factory mass and cannot thereby be
dismissed nevertheless. The acoustic
track, the casting in the time evoces a
HEAR PICTURE; perhaps even
a tone painting ...
CavæTóna composes old callings, i.e. scraps
and fragments of old languages ... and
is thereby a world music beyond all
times or back."

"I transport energy ..."
a portrait of the composer,
sound artist and musician
Norbert Walter Peters
by Reinhard Ermen
swr Baden-Baden transmission:
Atelier of New Music
DeutschlandRadio Cologne

"It is an impressive work ..."

Goetz Naleppa,
DeutschlandRadio Berlin transmission:

"Radio production of the year 2000."

Renate Richter, MDR Leipzig
transmission: 2000-12-28

"Une pièce très moderne."

Gérald Vinckenbosch, RTBF Bruxelles
transmission: 2000-12-03

"I really like the project and the recording
... it is really a great piece."

Eric Belgum, CD Sound Journal VOYS

"I find it very interesting."

Michel Lorblanchet, Archaelogist
Directeur de Recherche de CNRS Paris

"It is a very impressive work with Your
background research ...
Using multilingual text and onomatopoetic
expressions with strong articulation and
extra deep resonances (tubes) give for
Your piece its abstract character.
This keeps the listener's imagination
alive ..."

Pekka Siren, Ars Acoustica Group
Yleisradio Helsinki

Explanation of the title CavæTóna:
cave - English term for cave
cavea, cavae - Latin term for concavity
cave - Latin term for: to guard; to take care of
tona - Latin term for: singing; to let resound
something with a thundering voice
cavare - Latin term for: to excavate;
to profit from something
Cavatína - musical term for a piece of solo
singing in operas, from a simple
songful character.

Until now CavæTóna was transmitted/
published in 30 international radio programs
and performances: West- and East- Europe,
Australia and Nedw Zealand, Latin America.
(look also Bibliography and Aktuelles).

ars acoustica
nota.thión - après le Déluge
né-tchr - a music story