EDITOR: How was it to work for PLUG TO NATURE with a very unusual sound-instrument, the old Lighthouse from Sulina? Why did you decide to leave the recordings “untouched”, although the result is not an illustrative one?
E.B.: The old lighthouse was the most interesting sound I found in the Delta. Everyone expects to hear some bird sounds, water ambiances, reed in the wind and so on, which are all beautiful and inspiring. But when I first heard the sound of the little iron pieces welded to the old lighthouse, the resonance of the tour I was struck. It had to be played like a real harmonic percussion instrument and that is exactly what I tried to do. Keeping my balance on some pieces of wood that we found around there, playing the “notes” with 2 pieces of wood tied up with shoe laces at the tip to muffle them a little bit. I left most of the recordings as they happened because I think it was enough. I like the deepness of the reverberations of that piece of metal. However I could not restrain myself from producing a more elaborate piece using the recordings as a starting point, but adding more layers and musical ideas in the studio.
EDITOR: The sound-installation produced for Karlsplatz in Vienna is designed as an interactive piece, reflecting on the sound environment of Danube Delta. What is the significance of visitor’s participation in your work?
E.B.: They need to do most of the work! They have to be the ones who initiate in this conversation and the Danube Delta will answer them. You step up a few wooden stairs of this beautiful construction, you start to hear the ambiance of the Delta and just say something in the microphone. Some kind of life form from the Danube Delta will answer you in one way or another – either a bird singing back, an old man telling tales, frogs chatting by the pond or a group of women singing a line of a traditional lullaby. The more you take part in this conversation, the more you get back from the Delta sounds.