Lokale Orbits started as a sequence of pieces for solo instrument and tape,
whereby sounds, played by the musicians concerned, were recorded for further processing.
In Solo 5 I concentrated on the variation of mainly one of the many possible parameters of granular synthesis: the leading tape layer derives from cello tones played near bridge, the particles' entry distances stay constant (fast pulsation) and their durations vary - this results in a sound stream with permanently changing conceivability and localization. Some pulsar sounds act as a contrapuntal element; although derived from the instrument as well they may rather be percepted as originally "electronic" - an attribute that could almost likewise be related to some playing techniques of the violoncello.
The project was realized with support of IGNM (Austrian section of ISCM - International Society of Contemporary Music).