Commissioned by Jean-François Laporte for his invented instruments and live electronics. 

When a composer is writing for a specific musician and his or her instrument, it is always a strange mixture of relationships. The composer has probably written for the instrument before (or can at least study other composers who have) so even if the musician is the one who knows the instrument most intimately, the composer can still come with his or her own ideas from the outside. In that way all three parts have different kinds of relationships. But when writing for Jean-Franços Laporte and his own constructions, it is something more then that he just knows this specific instrument well. It’s not just a relationship as a musician can have with his or her instrument, these instruments are his own creations! So as the outside composer, you can never come as close to the instruments as he has done. That being said – for me personally the pieces I have been writing for Laporte instruments has been some of the most interesting experiences I’ve had as a composer. The first one was the piece ”Residues” for Laporte-instruments and symphony orchestra, that was premiered by the Swedish Radio Symphony Orchestra in 2006 and later released on cd. The second piece ”Close Encounter” is for one Laporte- Bol and live electronics. This third piece is an expansion of ”Close Encounter” where musicians from the amazing Ensemble Cairn and Totem Contemporain also participates.
Where I tried in the orchestra piece “Residues” to blend the orchestra and the Laporte instruments in a more global way, I have in these two pieces tried to go deeper into the sound world of the instruments and expand them through close microphones and real time treatments in the computer. In ”Close Encounter of the Second Kind” you will hear the Laporte-instruments together with percussion, clarinet and electric guitar and an electronic part that is based on recordings of different Laporte-instruments.