Composer’s notes
Owing to the regrettable rarity of ondists, this composition is available as an adaptive score with versions for one, two and three ondes Martenots. Three respective versions of accompanying electronic fixed media are available, in stereo, quadraphonic and ambisonic formats.
Influenced by the writings of Finnish electroacoustic pioneer Erkki Kurenniemi and stochastic composition techniques pioneered by Iannis Xenakis, Terminus employs a meta-compositional framework using mathematically derived probabilistic systems. These systems were modeled after the Montréal Métro, its underground rail lines and interchange stations.
The future of the ondes Martenot has been in a highly precarious state for four decades. Numerous ventures to preserve and promote the instrument have extended its life, but for how long? Feelings of helplessness and angst caused by the potential extinction of this instrument are transubstantiated via iconoclastic catharsis – an emotional unburdening through the non-recoverable process of immolation.
Performance notes
Performers are given a great degree of freedom with respect to dynamics, especially due to the complexity of balancing their performance with the multi-channel fixed media. The sound of the fire is intended to be just on the verge of overwhelming the live performance, so the affordance of this leeway is necessary.
The score notates both timbres and speakers to be used, but these are only suggestions which can be changed depending on the particular instrument or the acoustic characteristics of the performance hall. The included reference recordings may prove helpful in getting an idea of some of the articulations, vibrato and glissando effects preferred by the composer.