Martina Bertoni - Electroacoustic Works For Halldorophone (22012)

From the liner notes:

The foun­da­ti­on for the four elec­tro­a­cou­stic pie­ces was laid du­ring a re­si­den­cy at Stock­hol­m’s le­gen­da­ry Elek­tron­mu­sik­stu­di­on (EMS) that the Ber­lin-based cel­list and com­po­ser used to ex­plo­re the cu­rious in­stru­ment, ori­gi­nal­ly de­si­g­ned by Hall­dór Úl­fars­son in 2008, as an al­go­rith­mic sys­tem in order to ex­ami­ne tu­nings and the ma­the­ma­ti­cal re­la­ti­on­ships bet­ween har­mo­nic fre­quen­cies. Ai­ming to ana­ly­se and un­der­stand their in­ter­ac­ti­on beyond the com­po­ser’s con­trol, Ber­to­ni sought to en­ga­ge more de­e­p­ly with the con­cepts of time, tu­ning, and, most im­port­ant­ly, con­trol. Ac­cor­din­gly, her four »Elec­tro­a­cou­stic Works for Hall­do­ro­pho­ne« seem both mas­si­ve in scale and in­cre­dib­ly in­ti­ma­te, so­ni­cal­ly res­trai­ned and emo­ti­o­nal­ly over­whel­ming—al­most am­bi­ent and al­ways de­man­ding your full at­ten­ti­on.

About the Hall­do­ro­pho­ne: https://en.wi­ki­pe­dia.org/wiki/Hall­do­ro­pho­ne