I have not dedicated much of my time in the past to writing "commercial" music. I have however come to realise that there are many elements and even passages in my music which may be extrapolated and "distilled" to take on a new function, be it "commercial" or however more neutral in respect to the original. There are endless cases where such background music is needed and I came to the conclusion that I might as well offer materials for such use as a byproduct of my creative work.
The common characteristics of Atloids are the following:
1) Atloids are a series of musical "panels" derived in one way or the other from my concert pieces.
2) Atloids can function
a) as background panels of sound for any type of foreground: The recital of a text, a screenplay, a commercial, a demonstration etc.
b) as an accompaniment to any kind of image
c) as independent minimal pieces to function as intersections in a bigger musical or visual context or even as themes of a special type
d) many of them can also become a sort of ambient music
3) They are designed to have a free duration, they can be repeated at will and contain the possibility of minimal internal variation.
In the numbering of Atloids the first digit shows the number of instruments employed and the other two the serial number within that category. ("Atloid 307" means the seventh of three-instrument atloids).
So far only four Atloids have been realised, and they will hopefully be available soon on recording. Other four have been designed, and many other projected. Those who might be interested in this genre are encouraged to contact me since new Atloids can quite easily be produced for specific occasions and delivered either as sheet music or recordings.
READY MADE ATLOIDS
Atloid 101, piano
Atloid 102, piano
Atloid 301, flute, bass clarinet and piano
Atloid 302, flute, bass clarinet and piano
Atloid 401, flute, clarinet, violin, cello
Atloid 501, flute clarinet, violin, cello, piano
Atloid 601, four hand-bell players, stone-marimba and whisperer
STRINGS OF WORKS
As a visual artist has certain ideas of how he would like his works exposed, and eventually might design entire exhibitions, I have composed a few hypothetical strings of my pieces where different pieces can be put together and form a particular whole. Although the works thus combined are not originally conceived to partake in this order, their ordering is by no means arbitrary. They are combined in the hope of giving rise to a broader dramatic development and as a contribution to the renovation of the rather tiresome seven-piece-seven-author concertform.
Precise descriptions of how the pieces interlace are available (They might either overlap or present short connecting passages).
THE AMBER STRING A verso-The Elves' Accent-Post Scriptum-Le pas, les pentesn Fl (picc.) , cl , 2vn , vla , vc , cb , pno 30'
THE BASALT STRING Due bagattelle II (first part) -La métrique du cri-ma la melodia-The Elves' Accent
fl , ob , cl (Bcl) , bn , hrn , pno , 2 vn , vla , vc , cb 27'
THE COBALT STRING Donec Vesper-HZH-Object of Terror-Flecte Lapis | Fl , ob , cl , bas , hrn , tpt , tbn , 3 perc , piano , 2vn , vla , vc , cb 52'
THE DIAMOND STRING Donec Vesper-Di Volta-Blast II- Musubi II 1 or 2 trumpets, 3 perc, piano. 30'
THE FLINT STRING ...ma la melodia - Post Scriptum Vink picc , cl , vn , vc , pno12'
performed in Båstad, June 28, 2003