'Circadian Cycles' are patterns of biological activity that occur in a 24-hour cycle. They are important biological regulators in virtually every living creature.
The main materials for the composition 'Circadian Cycles' were extracted from data brought home from a sound recording research trip to the Costa Rican rain forests. These data consist of temporal, spectral, and spatial information, and have been used to shape short and long term temporal, spectral, and spatial aspects of the musical structure.
From a connotative point of view, an appropriate parallel was found in the English translation of "The Popol Vuh" - the Sacred Book of Creation of the ancient 'Quiche Maya' community, extracts of which are also brought into the electroacoustic part.
'Then they made the small wild animals,
the guardians of the woods, the spirits of the mountains,
the deer, the birds, pumas, jaguars, serpents, snakes, vipers,
guardians of the thickets.
And the Forefathers asked: "Shall there be only silence and calm,
under the trees, under the vines?
It is well that hereafter there be someone to guard them.
" '..... '"Speak, cry, warble, call, speak each one according to your variety, each, according to your kind." '
'Circadian Cycles' involves a large amount of electroacoustic sound material, which is triggered from a computer in synchrony with the instrumental performance. Live signal processing binds acoustic and electroacoustic materials in the same space, integrating sometimes opposing spectral and gestural ideas.
This work was realised in the electroacoustic music studio in Tromso, at NoTAM, and in the composer's private studio. The work was commissioned by the Oslo Sinfonietta, with funds from Norsk Kulturraad.