The work has three movements: fast, slow, and brutal. ![]() During this time we defined how the final version should sound, leaving the score ready to add the e-cello FXS patcher and the final orchestration. I composed the solo part first, and showed it to Johannes Moser, who crashed in my studio for a week. Then I jammed on the materials to find out what could be done with them. Once I had the materials ready, I ripped two strings off my electric guitar and tuned it as a cello. I used this data to construct the base materials for my work. Kevin Hurley – one of the authors of the articles I had read – who was kind enough to share with me data from three flares produced by three different magnetars collected by the Venera, Ulysses, and RHESSI spacecraft. It was then that I learned all I needed to know (and more) about magnetars and their flares. Jonathan Arons from the University of Berkeley (an astrophysicist who happens to play the cello) who kindly agreed to have lunch with me. Īfter learning about the existence of magnetars, I contacted Dr. ![]() ![]() Reading some articles online, I learned about the existence of a rare type of pulsars that had the biggest magnetic fields in the universe, known as magnetars. This is the main feature of this instrument and the very source of its amazing power, so I decided to find the biggest possible magnet to base my work on. The kinetic energy of the strings is transformed into electromagnetic energy that can be manipulated in numerous ways before being reconverted into sound. The electric cello is an electromagnetic instrument. Orchestration: 2 flutes (2nd = alto flute), 2 oboes (2nd = English horn), 2 clarinets (2nd = bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 2 trombones, timpani, percussion (crotales, tubular bells, vibratone, suspended cymbals, tam-tam, tom-toms, bass drum, vibraphone, spring drum, tambourine, and snare drums), harp, piano (= celesta), strings, and solo electric celloįirst Los Angeles Philharmonic performances (world premiere)
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