Spectral Portraits in Transit

Estaban Frances, Untited, 1942

Paul Beaudoin

ein kleines klangportrait

(2024)

Editor’s Note: I was recently informed by Paul that this piece was a finalist in the prestigious “The Engine Room” at Morley College (a competition begun by Cornelius Cardew). It is now a semi-finalist in the Prix Luigi Russolo.  

ein kleines klangportrait is an acousmatic piece of music inspired by the works of Pierre Schaeffer, John Oswald, and Noah Chreshevsky. Using acoustic sound samples, these are manipulated through old-fashioned tape studio techniques—stretching, splicing, and more—to create a dynamic, kaleidoscopic sound world.

The work interweaves moments using traditional instruments, such as piano and percussion, with digital and tape manipulations, pushing the boundaries of the traditional concert hall’s sound vocabulary. The piece draws on the concept of “hyper-instruments” pioneered by acousmatic composers, where familiar sound sources are transformed into something entirely new, challenging expectations and expanding the sonic landscape. Through constantly shifting textures and sound sources, ein kleines klangportrait evokes a post-apocalyptic yet utopian world, with boundaries between the organic and the digital blur.

The title, ein kleines klangportrait, reflects the sound world’s intimate, almost microscopic nature, echoing the small scale of objects often found in the artist’s visual work. It welcomes listeners to explore the intricate details of the sound, offering a rich, abstract experience where personal resonance and interpretation play a central role.

—Paul Beaudoin

There is a tension in this piece. The composer leans on the term “hyper-instrument,” a concept that enables ordinary instruments—with the aid of downstream processing, to transform their familiar sounds into something unfamiliar. This can take many forms: from sensors attached to the human body and triggered by the physical gestures of the performer, to recording techniques where the instruments natural sound is fed into processing devices totally independent from the source and the performer. The tension arises when one considers what the listener perceives.

The piece, though brief, is loaded with detail. It’s a compelling listen because the hyper-instruments used to create it go from the familiar to the who knows what. Over the course of the four and a half minutes, the listener’s thoughts might read something like this: (All hyperbole totally intended.)

1 – Oh, there are some nice piano touches in this work, and wow, those metallic percussive implements are beautifully placed. It has a fresh airy feel, something to play on a summer’s morn, maybe. A valley in Hurqalya—how bucolic.

2 – Wait a minute, what just happened? The busy but light-hearted percussion has just given way to a deep, cavernous sub sonic bass tone. Not only that, what’s with the unnaturally long sustain? And… and… it’s transforming, becoming coarse and dare I say… dangerous (GASP). An internal sense of encroaching dread is sensed building in my gut, and it’s expanding. Nothing to worry about, I can handle this… um, right?

3ARRRGGGHHHHseventhcircleofhellOHGODOHGODOHGODthelandscapeisgonetheairisalienwhatmannerofbeastisthis?!?!?HOLYSH…………. itsallchangedisthisthisthedesertofthereal???

… and you’re out.

Did I say there was a tension in this small sonic portrait?

(Play it loud, you know you want to!)

—Michael Eisenberg

Paul Beaudoin is an interdisciplinary artist and scholar, recognized for his work in music composition, visual art, and photography. With over 40 years of experience as a composer and educator, he is known for his innovative approach to art, blending the auditory and visual worlds. His music, photography, and video works have garnered international recognition, focusing on themes of history, identity, and cultural memory. Paul’s work often explores personal and collective loss, offering profound commentary on the human experience through sound and image.

Originally from the USA, Paul now resides in a formerly Soviet-occupied military zone in Estonia.

In addition to being a composer, Paul is also known for his work in painting, photography, video, and text. You can stay updated at his Instagram page. He also has a super well stocked bandcamp too.

Faruk Mehić

ePrelude op. 18 no. 3

(2025)

ePrelude op. 18 no. 3 is a composition in which the composer explores the possibilities of electronics and electronic manipulation of sound.

A desert at dusk
A sensefilm of mysteries
Bronze air, tarnished gold ground
Light wind as a storm looms. Faint now
Growing
Voices. Faint now
… on the wind…
Growing.

Voices riding on rough wind
Smooth chorus against coarse worldscape
Shifting, ebbing, flowing
Two songs, one clay-born, one telluric
Drowning
Being together
… in the void…
Connected

Within the cyclone of all
Times pole looks skyward
Silent, spectral and unending
Horizons revealed, Horizons obtained
Eternal
Upward sparks
… linked hands…
Returning

—Michael Eisenberg

Faruk Mehić is a composer from Bosnia and Herzegovina. He is currently studying composition at the Academy of Arts of the University of Banja Luka in the class of prof. Tatjana Milošević Mijanović PhD. His compositions have been performed or recorded by various artists and ensembles such as: Bartolomej Stanković, Quartet Pneuma, Accordion Orchestra Bela pl. Panthy, Chamber Singing Ensemble “Pro arte”, Serene Yu, Fernando Ávila, etc. Many of his compositions have been performed at festivals, conferences and events such as: “Multimod festival” in Belgrade, “Minimalist intersections” – The Ninth International Conference on Music and Minimalism in Belgrade, “Dani Vlade S. Miloševića” in Banja Luka, “Forte Piano” fesitval of contemporary piano music in Podgorica, “Zemunske muzičke večeri”, “Flauta & Me” flute festival in Novi Sad, “Belgrade Piccolo Weekend“, International cultural festival “Zeničko proljeće” and the biggest culture festival in Sarajevo “Baščaršija Nights”.

Faruk Currently studies composition at the Academy of Arts of the University of Banja Luka in the class of professor Tatjana Milošević Mijanović PhD/DMA. He won in his class (laureate) as a complementary piano player at musical competition at The Seventh International Piano Competition “Banjaluka Biennale 2022” held in Banja Luka. He also won first prize at The Eight International Piano Competition “Banjaluka Biennale 2024” held in Banja Luka where he premiered his own composition “Prelude” op. 4 no. 10.

A wide assortment of media can be found on Faruk’s website and YouTube channel.