Notes to Night and Day:
The opening piece, Thinking loudly, is played by a whistler, accompanied by a guitar and a piano. Then follows two pieces illustrating musical styles popular during the 1980ies and the 1970ies, the first with a room-filling synthesizer and the second in the “techno-synth” style with siren-like rising and falling sounds. After a quiet mandolin solo comes the Hommage á Pink Floyd, a piece playing and improvising over four tones that PF used in their monumental Shine on track, but which originally are of Spanish origin, appearing in the works of Cabezon (and thus long past any copyright restrictions).
Sunday night and Monday morning are two compositions complementing each other. The first one uses a number of sampled human voices to create all but a hit song, and the second is a rhythmic piece carried by deep bass guitars and male singers.
Floating on the beech (perhaps the one on the cover picture?) again uses one of the 1980-style synthesizers, but in a relaxed mode of summer laziness. The next piece is a straight, almost classical, piece for double bass and oboe.
My 1986 Open University lectures on superstring theory were very popular and had to be repeated more than ten times in different parts of Denmark, with audiences of 200-500 attending each lecture. They were the first lectures, at least in Denmark, based on computer-animated film sequences, and I had composed a signature melody for each of the three lectures in the series. These are the ones played here, using the same music files but better-quality rendition software than the original one.
The two next pieces are another 1980-style synthesizer melody plus a jazzy piano intermezzo, played on a MIDI-keyboard to the superb piano sampled instrument called Pianissimo from the software company Acoustica in California.
Fukushima is a serious orchestral piece dedicated to the victims of the 2011 tsunami-induced nuclear accident in Japan. I use special sampled instruments to render the monotonic noises of machinery and to set the scene for the chaotic efforts of the personnel to understand what was going on. Interspersed with melodic pieces cropping up when the technicians think they have a new idea and subsequently disappearing when it becomes clear that the idea is no good. However, towards the end of the piece, a small optimistic melody makes its way to the foreground of the piece and at the end leaves the listener in a momentary hopeful mood.
The Postlude closing the CD is actually a joke, playing the exact same score three times: first with raindrops as the main instrument, then with church bells and finally with a small orchestra of more conventional composition. The point is of course that bells and raindrops have poorly defined base tones and overly complex harmonics, making it very difficult to sort out the melody being played.