Clandestine Parts First performance in Russia 2001
Clandestine Parts was composed specifically for the CD “Currents” (Elektron EM 1002). The piece also formed the basis for the later and longer 12-channel work, specially commissioned by the Swedish National Concert Institute for the open-air pavilion Elektrofonen. The piece was composed in the electronic music studio at University of East Anglia and at EMS.
EAM-festival in Växjö -00 (version 1)
New Acousmatic Art, Stockholm -01 (version 1)
Mexico city –01
New Music Festival in Halmstad -02
CEMI concert at University of North Texas -03
“Öronblick”, Textile Museum in Borås -03
Oscar Peterson Concert Hall, Montreal -03
The Netherlands radio -04
RTQE radio – recent herstories, part 1, Wisconsin -05
“Soundings” in Edingurgh, UK -05
ICMC 2005 in Barcelona, Spain -05
Orsjöborg, Hälsingland -08
Arbrå, Hälsingland -08
Monitor Swedish Radio P2 -08
“Short stories” at Fylkingen -08
SEAMS concert, Fylkingen -09
“GEMdays”, Huddersfield, England -10
“Soundings”, Edinburgh, Scotland -10
“Ohrenhoch der geräuschladen”, Berlin -10
Program notes: www.elektron.nu/em1002.html
Reviewed in English at:http://home.swipnet.se/sonoloco6/Elektron/elektronfr.html
Review 1 (3)
Tritonus Nr 1/2001
Written by Daniel Hjort
“Paulina Sundins andra stycke på egen hand, CLANDESTINE PARTS (2000), handlar enligt skivkonvolutet om hennes barndomsdrömmar och har en potential att bli en riktig “hit”.
Här njuter jag verkligen av de härligt gnistrande diskantljuden som blandas med dova klangexplosioner i en ljudresa man sent glömmer. Skärpan i ljud och uttryck är här så övertygande att man glömmer att man lyssnar till ett EA-stycke och det är både bra och ovanligt!”
Review 2 (3)
Written by Ingvar Loco Nordin
” Track 7 – “Clandestine parts” (2000) – is Paulina Sundin’s second solo piece. I don’t have any more superlatives left, but if I did I’d unload them here. A whole dump truck of honors would be appropriate. Paulina has me under a spell, I do believe… The ambiguous title relates back to childhood dreams of Paulina, and the vivid soundscapes could well transform into dreamscapes – but that is true of most events on this Elektron CD. Sonic Poetry is back – Paulina Sundin is its figurehead, its beautiful princess!”
Review 3 (3)
Written by Olin Chism
“New, groovy sounds straight from Sweden
[…] A performance Monday at the University of North Texas reproduced sounds that would be baffling, if not infuriating, to, say, the Dallas Symphony Orchestra’s audience. The site was the Merrill Ellis Intermedia Theater in the College of Music Building.
Recent electroacoustic compositions from Sweden were transmitted through an impressive 18-channel surround-sound system that only a well-to-do person would be able to set up in his home – and only after soundproofing the room to avoid complaints from neighbors. […]
Much of the music sounded like experiments from an electronic engineer’s lab. It’s possible that most of it came out of ordinary sounds transmuted into something else. A mockingbird’s tweet might become the groans of a dying triceratops. The ability to tinker with sounds has grown enormously in our time.
The most interesting, even strangely moving, pieces involved dimly recognizable sounds from the real world mixed with electronic sounds. Mr. Karlsson’s work was one of them – even if “The Lady Is a Tramp” was hard to find. Clandestine Parts by Paulina Sundin and Tracks by Anders Blomqvist were others.
It certainly was an ear-expanding experience.”
CLANDESTINE PARTS (by Paulina Sundin) is inspired by the dreams I remember from my childhood. At times, sleep was haunted by vivid nightmares, full of fear and technicolour dread. But ever so often, like a soft whisper drowning out the noise of chanting mob, I was relieved by a purely joyful dream with a happy ending.