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Revised in 2008.
Written for and dedicated to the Windkraft Ensemble.PREMIERE September 10, 2005
Klangspuren Festival,
Schwaz, Tirol, Austria
Windkraft Ensemble,
dir. Kasper de Roo |
Generally speaking, I do not find purely instrumental music artistically appealing. It has rather historical values and not much to do with experimental art.
That is why I considered my work on that piece as a process of reconstruction of an incomplete artwork, accidentally re-discovered after some unknown number of years or even centuries.
First I created a sketch of a hypothetical piece of music, using existing sounds (left-overs after recording sessions and such, the choice and final distribution were quite random). This resulted in a skeleton of work that by nature was incomplete and full of empty spaces. Since then, the process of re-construction began. I played a role of a "music-archaeologist" and sound-engineer, working on a sound-restoration project.
I tried to define a general set of features of a musical style, that would be used as a base of reconstruction, then started generating variants of motives and phrases that would fill in the gaps. In the final composition I used those variants together which resulted in somehow interesting heterophonic textures. Since heterophony is probably the oldest known muscial practice anyway, this approach seemed reasonable. I considered the final orchestration as a sort of approximation (an approximate timbral sketch, created with contemporary instruments).
Finally, each reconstruction brings a risk of mistakes and misinterpretations. In this case an error is built in the system and this is where the most interesting things occur.
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