Annotations to My Piece "Hallo! Do you hear me?"


  • Vinko Globokar



The articles contains V. Globokar's notes on his composition "Hallo! Do you hear me?" which he had been designing from 1985 on by the invitation of Radio Helsinki, and then introduced it to the public in the spring of 1987 during the event which brought together three Nordic broadcasting stations, namely those of Oslo, Stockholm and Helsinki. Rather than a report on the result, Globokar's account puts forward reflections on the process of creation in the course of which he was compelled to fill the means of production and broadcasting previously decided on with the sounds of music. The procedure somehow tended to oscillate between following the conception previously agreed on, the idea of complex combinations intended to be put to effect in the resulting musical piece, and the composer's desire for allowing for the accidental, as well as for perpetrating "what is not done". There were three units at the composer's disposal, namely the orchestra in Helsinki, a chorus in Stockholm, and a jazz quintet in Oslo. The whole event was conceived in a way so as to make possible for the audience in all three concert-halls to hear the same musical product by way of wireless connections in all three studios. Communication was the main object of interest to the composer in the matter of treatment of the subject: fragments, which he calls "messages" (i.e. instrumental sounds, words or vocal parts, and visual messages each limited to the particular concert-hall), are conveyed from a transmitter to the complementing two receivers triangularly in a "molecular" chain of some kind. Transmission, perception and response are continually performed on this level of trilateral correspondence, with each unit having at its disposal all three types of messages and being entitled to transmit each three times (3x3x3). In this way, the composer had imposed on himself limitations as set by the nine entities which had made possible for him to synchronize the complexity of his material. But despite such self-imposed discipline he is nevertheless tempted by the desire to bring accidence into play as well, this making him want to "pour some sand in the mechanism" as he puts it, in order to introduce additional riddles to his creative process.


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1. 12. 1987




How to Cite

Annotations to My Piece "Hallo! Do you hear me?". (1987). Musicological Annual, 23(1), 99-102.