Back to the Index

Ludger BRUMMER Le Tombeau De Maurice
Born in 1958 and educated in Germany. Studied psychology/sociology with a final "Diploma" in 1983; 1983-1989 composition with Nic. A. Huber and Dirk Reith. Commissioned to work with choreographer Susanne Linke for the choreography of "Ruhrort", followed by several international performances in America, Europe and Asia. Ballet music for the Nederlands Dans Theater with the orchestral piece "Riti Contour". Several ICMC performances, in San Jose, Tokyo, and Banff. Since 1995 Member of the jury for the "Ars Electronica" award of the ORF Austria. Publication in the Computer Music Journal. Commissioned by the "Akademie der Kuenste" Berlin, "Zentrum fuer Kunst und Medientechnologie" Karlsruhe and the ICMA for the ICMC 1997 in Thessaloniki. Awards: Folkwang Award , Essen, Award from the WDR for an orchestral piece with the Philharmony Cologne. Busoni Award of the "Akademie der Kuenste" Berlin. Scholarship of the German government by the DAAD. Visiting Scholar at CCRMA between 1991 and 1993. "Menzioni D'Onore" at the Luigi Russolo Award, Italy and the Stockholm Electronic Music Award. "Golden Nica", 1st Price "Ars Electronica" Linz, Austria. Ludger Bruemmer is currently living and teaching at the electronic studio ICEM, Folkwang Hochschule Essen. A sample of the "Prelude" from Maurice Ravel's "Le tombeau de Couperin" is the aesthetical and synthesis source for this composition. Its basic theorems are used to create the musical ideas of the new composition. The pitch directions for example are built out of the basic elements "upwards" and "downwards." The combination of these two elements creates all the figures and motives used in Ravel's composition, and even further they determine the formal structure of the whole piece. The most important algorithms use an idea which is derived from mathematical fractals. Those fractals contain structures which are all similar to each other and differ only in size. It is similar to a Russian doll where the same doll lives inside the bigger one. Every grain of sound contains something and discovers something in the duration of the piece: a bassoon sound is created by a looped oboe, a choir sound is created by a looped harp. The grain is like a keyhole which gives a limited view to what is behind the door. The piece was created in 1992 on the NeXt computers of the Center for Computer Research in Music and Acoustics, Stanford University, using Bill Schottstaedt's Common Lisp Music synthesis software and Heinrich Taube's Common Music. It was as well premiered at Stanford University in the Frost Amphitheater with its legendary acoustics.