norbert walter peters
composer• sound artist

beau - An Electric Fayerie

(opus 27)

radiophonic concert

for: electric clarinet in b flat
(Andrew Sparling, London GB),
electric violoncello
(Anton Lukoszevieze, Norfolk GB),
(Adrian Kuban-Maruszczyk, Aachen D)
(Dirk Rothbrust, Köln D)
tape (e-bass/e-guitar/voice)
(Norbert Walter Peters)
sound technics: tape/
sound director: live-performance
Jürgen Müller (Aachen D)


Festival for Contemporary Music
Live SR2 Kulturradio Saarbruecken
(duration: ca. 48')

beau is a (radiophonic) concert
piece, which compares the tone spectrum
of an e-bass, an distorted e-guitar and a
male voice with the sound qualities of
slap-e-bass effects and percussion as well
as electronically amplified respectivly
electronically alienated ‚conventional’
string - and wind instruments.

My intention points out to the fact,
to fusion bonds of Funk-Rock and
Live-Electronics with the thinking-
processes of Contemporary Music.
On this note, my composition keeps
fixed and summarized under the topic
of minimalistly structural thinking.
Around 40 years after the death of
Jimi Hendrix, at the same time this
music piece is an hommage to the
great top art figure of the late 60’s.

There are four horizontal sound-
and noise strata as well as
different – divergent – measures
in the structural line of this music
In the
first stratum – tape – the
synchronous singing, susurration or
articulated breathing of a male voice
adds itself to the toning of an e-bass,
which are combined to a kind of brick.
From the voice-over respectively the
montage of these compositional bricks,
– which pass through a sound spectrum
from the base accords of the seven tones:
C, E flat, E, F, A, B flat, C flat –, a dense
polyphonic pattern respectively a transiting
noise belt is produced in the studio.

Also taped in the studio, in the
– tape – the pattern (power chords)'
– trance-beat-like and for three voices – of
the distorted e-guitar are treated and
multiplied (with loops) with the extra-wide
singing of the male voice to a polyphonic
sample respectively to a further transiting
noise belt.

As language material a text fragment
Charles Baudelaire is used. Baudelaire
is like
Jimi Hendrix the ‚flaneur’ between
the different types, furthermore this
in its note refers to motive of the
which has become a kind of kern motive
in my artistic work:

„Il commande aux moissons de croître
et de mûrir/Dans le cœur immortel
qui toujours veut fleurir!“
(„In its immortal heart, which would
always like to bloom,/she [the sun]
commands to the seeds to grow
and to blossom.“)
Le Soleil, 1857)

third stratum as a part of the live
performance enforces the minimalist duct
of this noise music of the tape by typically
insertions: funky cantilenas and rhythm
of the percussion (various high and deep
drums) as well as so-called pizzikato-pops
and slap-elements of the e-bass.

Tone cascades alienated by live-electronics
form the
fourth stratum. Thereby a mix of
violoncello and clarinet in b flat alternately
acts with slots of flanger-, delay- or distortion-
Here the interpreters operates on the
one hand with the tape as well as
in dialogue among each other – with the
musicians of the
third stratum – and therefore
quasi again create space through the
development of perpetuating time fields.

Explanation of the
„beau - An Electric Fayerie“
son (french) the sound
- sans G (french) wordplay - without the tone G:
allusion on the use of the tone-sequence
F - A - Bb - Cb - C - Eb – E
beau songe (french) the nice dream
- Electric Fayerie (english) allusion to the
Hendrix album „Electric Ladyland“ as well
as wordplay of the terms:
fay (english),
féerie (french) the
magic piece,
Hendrix's girl friend and muse in New York
Fayne Pridgeon, but was called Faye.

to beau - An Electric Fayerie (selection):

"Finally I had the time to listen calmly to
your pieces ... Electric Fayerie did delighted
me a lot. A sound landscape in which the
thoughts are led and still able to roam, and
return at the end to their exit. The sound
creations are very subtle, I think you may say

Prof. Dr. Helga de la Motte,
Musicologist Berlin

"It is a very nice work."

Marcus Gammel,
DLR culture Berlin

"It's great to hear the piece from the
outside: a very different experience from
the inside! Just as pleasant, but very much more

Andrew Sparling, London

„‚beau’ of Norbert Walter Peters –
trained by minimal music – electrified
through sound- and rhythm techniques.
Here than finally the spirit of the music has
been discovered. The increase in feeling
extended the expression pallete of the soloists
by important profundities regions. This
allowed to grow the nearly one hour
composition of Peters (and the following
'Edges' of Christian Wolff) to a significant
artwork, which give more than a pure thrill.
So the SR-festival Mouvement rounded
itself to a varied and stylistic iridescently
insight of a music world, in which trivial,
profound, helpless, serious, boring and
intoxicating things shaking hand at
any time.“

Peter Schroeder, neue musikzeitung

„ ... and especially „beau“ – trained
by minimal music – of Norbert Walter Peters
electrified through sound- and rhythm
Here than finally the spirit of the music has
been discovered. This allowed to grow the
nearly one hour composition of Peters
(and the following „Edges“ of Chrstian Wolff)
to a significant artwork, which give more
than a pure thrill."

Peter Schroeder,
Saarbruecker Zeitung

Ensemble Aventure  
2009 imphrontal - miniature

chamber music

for string quartet
Ensemble Aventure Freiburg
Friedmann Treiber (Violine 1),
Felix Treiber (Violine 2),
Jessica Rona (Viola)
Beverley Ellis (Violoncello)

Festival for Contemporary Music
30 Years
(duration: 4'35'')

„imphrontal“, which can be translated
imprint or trace, thematizes in its
minimalistic duct the aspect of the
mental state and emotionality of a
person. The stratification of different
tempo specifications – so-called
divergent measures –, gives a certain
blurring in its temporal feeling to the
music piece, similarly like the blurring
of the surface-texture of an informal

to imphrontal (selection):

"Even if the invoice is similar the both
pieces ("beau" and "imphrontal")
are still very different. Probably it owes
to the genre that the string quartet
seems very strictly."

Prof. Dr. Helga de la Motte,

Musicologist Berlin
concert in the Stadtgalerie Sarrebruck

nota.thión - the lament of the repentant

(opus 24)

radiophonic concert

for bass German flute/flauto traverso/voice,
(Irmela Nolte, Munich) viola/viola d'amore
(Hariolf Schlichtig, Munich) and tape
FP: Stadtgalerie Saarbrücken, 2005-10-13
transmission: Bayern2Radio 2006-09-20
(duration: ca. 48')

This radiophonic concert confronts the noise
character of the bass German flute and viola
with the sound characteristics of the flauto
traverso and viola d'amore. Altogether there
are four strata, which the two interpreters
Irmela Nolte (flute) and Hariolf Schlichtig
(viola) have to run through for the producing
of the tape in the studio as well as
In the first stratum trance-beat-like and
high frequency, doublehandy patterns of
the viola, which where taken up in the studio,
are converted and multiplied to a polyphonic
model resp. to a going through noise line,
which suggest (poplar-)roaring and/or
cicadas chirping.

In the second stratum the noiseful tone
giving of the bass German flute adds oneself
to the simultaneous singing, whispering or
breathing of the female performer into the
mouth hole. Three text fragments of
ancient Oriental languages are used:
old Egyptian, Hurrian, Akkadian, which
reflect three opinions of the HEART
term in the evolutionary principle
of live, death and rebirth. Also here
again from the superposition of
compositorical bricks, to which this various
tone -, breath- and whispering actions
are structurally compressed, a polyphonic
model resp. a going through noise
line is produced in the studio.

The third and fourth stratum as
live-performing strengthens the minimalist
duct of this noise music by signalfully
objections: melodic figurations, high
frequency flageoletts and articulated
pizzicato elements going through six tone
chains in changing succession.
In a musical dialogue the two
interpreters performe at the same time,
on the one hand with the tape and on the
other hand in the dialogue among
themselves and create a plasticity, which
result from the plurality of the continuos
time models.

to nota.thión (selection):

"Your work is very nice!"
Armeno Alberts, NL4 Hilversum

"Je trouve votre travail intéressant."
"Your work is interesting."

Laurent Major, Radio Canada
Zmira Lutzky, IBA Jerusalem

"I am delighted, that you had the
opportunity, to produce this composition
in a radiophonic manner, because the
draft actually functions in double regard:
once as concrete work with the sounds of
the voice in a constantly moved sound
architecture with all their tonal niches,
linear as plain like details and noisenear
structures, on the other hand in addition
as sound environment, nearly in the sense
of the ambient, which you simply can leave
there and in which as listener you then
find yourself in a homogeneously moved
world of sounds, rhythms and noises.“

Andreas Hagelüken
Radio Berlin Brandenburg

"I find it quite fascinating."'

Jesper Lützhöft
Danish Radio Klassisk

"A nice production."

Götz Naleppa
Deutschlandradio Kultur Berlin

Anton Lukoszevieze, Ruth Geiersberger, Dirk Rothbrust (from left)
2002 con'tinuo I
(FP 2001-12-14  Munich)

ars acoustica performance (opus 19)
for female performer (Ruth Geiersberger,
Munich), violoncello (Anton Lukoszevieze,
Norfolk GB), percussion (Dirk Rothbrust,

The ANIMA is considered as contentwise
header of this work. This header is again
arranged into three partial aspects, which
the contents layers of the composition link
1. the Chinese oracle of the I GING
(asking the spirit/the ANIMA)
2. the opera Orfeo of CLAUDIO
MONTEVERDI (the loss of the ANIMA)
3. the circle diagram (the figure S ANIMA)

The use of 14 arithmetic series is again
formativ in a structure- and an
educated manner: the transformations of the
sequence of numbers 1 to 64, how as well
as the 64 I GING hexagrams offer the
irregularity factor in the series structure,
which is determined over a lot procedure .

Six pictures or scenes function as a
of the concert piece of 40 minutes
which I selected from the I GING - if a plot
exists, then as an abstracted form of the
Orfeo topic of Claudio Monteverdi.
The six
scenes out of six I GING hexagrams
read in the appropriate order:
I "Discover the body, the space; a flood
of inner pictures."
II "The respect for all forms of life; an
action without self-interest."
III "The passing and the renewed growing
up from the center of the earth."
IV "The tensions solve themselves; (the
liberating rain)."
V "The humility; - may not become a
creeping nature; - it develops rather to a
deeply rooted tree."
VI "Cessation: substantial weight and
immobility of the
Yang-power; the process
of scinning and liberation of the

Music is based on a
Quart-Sext-Harmony or on the initial theme
of the air: "Rosa del ciel, vita del mondo"
from the
Orfeo. The CELLIST and the
PERCUSSIONIST make music primarily
on one noise-/sound level (scratching/
drawing/moving/beating): a. o. t.
• marimbaphon and cymbal is played with the
bow and wicker;
• two timbals touched with a brush;
• a second violoncello in scordatura used for
double flageoletts.

The instrumental part is fixed in notation,
whereby by the use of a special type of
fermate, which orients itsself at the breath
fluxion of the YOGA, the time moment is
every now and then removed.

I was instructed by the general bass practice
basso continuo) of the Monteverdi time:
bass foundation (noiseful)
central voices (a. o. t. also the 'trance beat'
of the percussionist)
upper voice (tones in the frequency range
between 1000 and 4000 Hertz;
intra-uterine sound world)

In her partially improvisatoric and
experimental, i.e. not in conventional
notation fixed part the FEMALE
PERFORMER has to produce thereby
body noises of most different type: a. o. t.
• hissing by the teeth;
• wringing the skin of the wrist;
exploring the resonance of the building of bones.

Beyond that, I aim at a connecting/mixture of
body noise and instrumental noise of body
sound and instrumental sound. The
music of
cello and percussion (following the
performance every now and then also
synchronously with the performance
in scene III and VI) is as comment to the
performance or to the given topic of the
I GING understanding.

title con'tinuo is ambiguous and has to
translate with:
with tactfulness/with sensitivity

To the first performance of con'tinuo in
Bayern2Radio on 2001-12-14:

"Today Norbert Walter Peters continues his
compositorical work with the performance
con'tinuo - and it interests him thereby the
soundly maximum stretching moment of the
tone moving. You will hear noises and
tones, which develop, if the female
performer skin on skin rubs; if body strikes
on stone; if dental enamel at brick-work
A drum skin is processed with the foot nail;
to play on a marimbaphon and cymbal with
a bow and from a cello are drawn overtone
cascades. And it can be heard first of all
silence ... With the assistance of the virtuos
performers Dirk Rothbrust, Anton
Lukoszevieze and Ruth Geiersberger the
border crosser Norbert Walter Peters
produces, this evening first of all one: limit

Jörg Stelkens, curator of the
t-u-b-e, Gallery for Radiophone Art
for the initialization of the
live transmission of the
Bavarian Radio on: 2001-12-14

"con'tinuo' is the radiophonic conversion
of a live specified chamber opera for
strings, percussion, alto and bariton as well
as one
human body. Instrumental noises,
human voices and a body, which move
audibly in the space, are here to a music
The piece decreases in music and
dramaturgically to the Orpheus topic. The
starting at the beginning of the air "Rosa
del ciel, vita del mondo" of Claudio
Monteverdi (1567-1643) is told the origin of
this sound composition, those in a broad
sense by releasing the terrestrial body."

program pamphlet "Radio Drama/Feature"
DeutschlandRadio Berlin,
january - march 2002
Dirk Rothbrust
2000 p'antrogramma
(FP 2001-09-02 Bonn)

This composition from april 2000
dedicated to the percussionist Dirk
Rothbrust, Cologne, - a.o.t. member in the

Schlagquartett Cologne as well as in the
Kammerensemble Neue Musik Berlin.
Dirk Rothbrust performed the percussion piece
(duration: about 27') initially with a
over a meditative state of suspension to a transcendental sound volume.

When planning my work we have fallen
back to an extensive equipment:

large frame drum (beaten/stroken with the fingers)
vibraphon (stroken with the bow)
cymbal (beaten/stroken with the bow)
indian tablas
sound shells (stroken)
Chinese gongs
rattles, guiro from willow, rain tube
wooden block.
With this rich pallet of percussion I could set in scene
sound events which are occasionally seem to be
picked up from ethnical music. This loan is not
intentended at last, to take resort in its narrative form
on the
Tibetani Dead Book (8th c.a.C. Bardo Thodöl -
on the so-called "Liberation through hearing on the
plane after death"
): a theory of the transition of dying to an intermediate condition, which has finally the rebirth as a goal.

The title p'antrogramma, multilayered in its
meaning, refers a.o.t to the term:
anthro - Greek the human beeing - and
antro - Italian the cave - as well as on the
• philosophical formulation of the
the dramatist FRIEDRICH HEBBEL
(1813-1863) used that:
the tragical world law
of the fight
between the particular and the universe.
concert music
imphrontal - miniature
nota.thión - the lament of the
repentant heart
radiophonic concert
ars acoustica performance
chamber music for
percussion solo