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y the Deutsche Radio Philharmonie Saarbücken/Kaiserslautern (SR/SWR); first premiere: 2009-05-23 festival „Mouvement - American Dreams/Amerikanische (T)räume"; „Long Night Of The American Avantgarde“, Funkhaus Halberg, Saarbücken. Performers of the premiere: Andrew Sparling (clarinet), Anton Lukoszevieze (violoncello), Dirk Rothbrust (percussion), Adrian Kuban-Marusczyk (electric bass); Norbert Walter Peters (voice/electric bass/electric guitar - source tape). WORK DESCRIPTION: „beau son.ge - An Electric Fayerie“ is a (radiophonic) concert piece, which compares the tone spectrum of an electric bass, an distorted electric guitar and a male voice with the sound qualities of slap electric bass effects and percussion as well as electronically amplified respectivly electronically alienated ‚conventional’ string- and wind instruments. My intention points out to the fact, to fusion bonds of Funk-Rock and Live-Electronics with the thinking-processes of Contemporary Music. On this note, my composition keeps fixed and summarized under the topic of minimalistly structural thinking. Around 40 years after the death of Jimi Hendrix, at the same time this music piece is an hommage to the great top art figure of the late 60’s. DENSE POLYPHONIC PATTERN There are four horizontal sound- and noise strata as well as different – divergent – measures in the structural line of this music piece: - In the first stratum – source tape – the synchronous singing, susurration or articulated breathing of a male voice adds itsself to the sounding of an electric bass; voice and electric bass are combined to a kind building block. From the voice-over respectively the montage of these blocks of the composition, – which pass through a sound spectrum from the base accords of the seven tones: C, E flat, E, F, A, B flat, C flat –, a dense polyphonic pattern respectively a transiting noise belt was produced in the studio. - The second stratum – source tape – , was also taped in the studio: the pattern (power chords) – trance-beat-like and for three voices – of the distorted electric guitar are treated and multiplied (with loops) with the extra-wide singing of the male voice to a polyphonic sample respectively to a further transiting noise belt. FLANEUR BETWEEN THE DIFFERENT TYPES As language material, a text fragment of Charles Baudelaire is used. Baudelaire is like Jimi Hendrix the ‚flaneur’ between the different types. Furthermore this „Poème“ in its note refers to the motives of the heart, which has become a kind of kern motive in my artistic work: „Il commande aux moissons de croître et de mûrir/Dans le cœur immortel qui toujours veut fleurir!“ („In its immortal heart, which would always like to bloom, she [the sun] commands to the seeds to grow and to blossom.“), „Le Soleil“, 1857. SLOTS OF LIVE-ELECTRONICS MODIFICATIONS - The third stratum as a part of the live performance enforces the minimalist duct of this noise music of the source tape by typically insertions: ‚funky cantilenas’ and rhythm of the percussion (various high and deep drums) as we'll as so-called ‚pizzikato-pops’ and slap-elements of the electric bass. - In the fourth stratum tone cascades alienated by live-electronics form. Thereby a mix of violoncello and clarinet in b flat alternately acts with slots of flanger-, delay- or distortion- modifications. Here the interpreters operates on the one hand with the source tape as well as in dialogue among each other: with the musicians of the third stratum. And therefore quasi again, create musical space through the development of perpetuating time fields. (Via headphones, each performer receives the respective click from the divergent measures). More Info: http://www.norbertwalterpeters.de/e_conc.html Explanation of the title: „beau son.ge - An Electric Fayerie“: - „son“ (french) the sound; - „sans G“ (french): wordplay - without the tone G: allusion on the use of the tone-sequence F – A – Bb – Cb – C – Eb – E; - „beau songe“ (french) the nice dream - „Electric Fayerie“ (english) allusion to the Hendrix-album „Electric Ladyland“ as well as wordplay of the terms: „fay“ (english), „féerie“ (french) the magic piece; Hendrix's girl friend and muse in New York was Fayne Pridgeon, but was called „Faye“. Music/video © by NWPeters, 2006/2020; source tape production: Pink Noise Studio – Jürgen Müller, Aachen; live production, sound director: Jürgen Müller; sound engineer, SR2: Ralf Schnellbach; sound technics SR2: Susanne Zinke/Oliver Kany; editor SR2: Wolfgang Korb; photo documentation: Annette Siffrin, Anton Lukoszevieze; frontispiece © by Anton Lukoszevieze, Norfolk, GB, 2009. GEMA: 9.891.582.