Two studio recordings, illustrating some of the differences that the electronic system can offer in a live realisation.

In myth, Argrophylax is a silver stone with magical properties found in the river Pactolus, bought by wealthy Lydians and placed at the threshold of treasure houses. If thieves ever tried to enter, it emitted piercing trumpet-like alarm sounds and, deranged, the would-be robbers would “go over the cliffs” as if chased by guards. This story can be found in Concerning Rivers, a text attributed to Plutarch. The term itself does not exist outside of this source, but is close to other words; “argos” (bright) and “arguros” (silver). An “agrophylax” was a rural guard in charge of farmlands where as an “argurophylax” was a church father and keeper of silver. All these references have served as inspiration for this piece; although not ‘programme music’ as such, it intends to create strong musical evocations of these references: alarms and surprise, intensely shining objects, the swirling waters of a river, maddening confusion and flight.
The oboist negotiates a proportional score with rhythmic and pitch freedoms while the computer processes the live sound in real-time. It employs spectral and granular techniques creating drastic timbral transformations, reiterations, webs of echoes and sheets of dense sound. The player has to react and adapt to these events. The Max/MSP system 'listens' to the oboe, and is at times empathetic, reactive or provocative, but generally unpredictable in behaviour.

https://research.gold.ac.uk/id/eprint/7828