Modulation - spirits


In June 1820 Die Zwillingsbrüder was performed with moderate success in Vienna, Vogl doubling in the parts of the twin brothers. It was followed by the performance of incidental music for the play Die Zauberharfe ( The Magic Harp ), given in August of the same year. The lovely, melodious overture became famous as the Rosamunde overture. Schubert was achieving renown in wider social circles than the restricted spheres of friend and patron. The wealthy and influential Sonnleithner family was interested in his development; their son Leopold became a great friend and supporter. At the close of the year 1820, Schubert composed the Quartettsatz ( Quartet-Movement ) in C Minor, heralding the great string quartets of the middle 1820s, and another popular piece, the motet for female voices on the text of Psalm 23. In December 1820 he began the choral setting of Goethe’s Gesang der Geister über den Wassern ( Song of the Spirits over the Water ) for male-voice octet with accompaniment for bass strings, D. 714, completed in February 1821.

What is Phobos?

One of Mars’ moons? A synthesizer? A tool for creating massive cinematic and electronic rhythms? An engine for endless spectral combinations of wide, lush pads and ambiences with propulsive rhythmic figures? Is it a sound library of bespoke percussion, beats, micro rhythms, field recordings, live acoustic and orchestral treatments, textures and a massive vintage synthesizer collection? That is just scratching the surface.

At its core, Phobos is a synthesizer based on the unexplored precept of polyconvolution as a synthesis engine. BT came up with this idea many years ago doing sound design. What does that mean exactly? Polyconvolution as a synthesizer? Well, it means instead of using convolution for reverb or modeling an amplifier's distortion circuit, why not make a “reverb” impulse response tonal?

Combining something rhythmic with something tonal (as an impulse response) yielded some of the most modern, liquid and percolating ambiences and textures BT had ever heard. These are the kinds of sounds he has been searching for whilst scoring; those elusive sounds where the director asks for “movement and a feeling of drive, yet subtly”. That’s not to say that Phobos only excels at subtlety - it can sound massive, driving and aggressive, like an army of monsters in its scope and power.

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Get to Know the Projects of Grafton Architects, Directors of the 2018 Venice Biennale Yesterday, the Board of La Biennale di Venezia appointed Yvonne Farrell and Shelley McNamara of Grafton Architects as curators of the 2018 Venice Architecture Biennale. Farrell and McNamara established Grafton Architects in 1978. They have held the Kenzo Tange Chair at Harvard GSD and the Louis Kahn Chair at Yale University.


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