for Orchestra and Elektronics
fp: 16.10.2015, Donaueschinger Musiktage, SWR Symphonieorchester Baden-Baden und Freiburg, Peter Eötvös Ltg.
Unlike many of my pieces in recent years, this piece is quite unconceptual, engaging in detail with microrhythms and microintervals. Piano samples that can be played back very quickly and at finely defined pitch levels can represent sonic-parametric developments (glissando, accelerando/ritardando, crescendo/diminuendo) even in the smallest intervals and in every configuration. Two aspects here interest me: the combination, concatenation, and overlapping of various processes, for example of a slightly exponential acceleration on linear cent-wise descending pitches with a logarithmically increasing volume, results in an amazing variety of differentiated perception, the “aesthetic of the curve.” The shapes that result recall in part physical models like that of a ball bouncing, but one that can also “fall” upward. On the other hand, this results in the contradiction that movement is represented by a series of unmoved individual moments, the universal-human techniques of processing information from linguification to digitalization that ease and enhance life in ways that we can scarcely do without and yet are endlessly intricate. Contradiction itself is in motion. Mathias Spahlinger created the cornerstone akt, eine treppe herabsteigend (Donaueschingen 1998) that I build upon here. The orchestra plays a harmony corresponding to the sample iterations that enlarge or lessen more or less exponentially upward or downward, as well as accentuations, colorings, rhythmic densities, and free networks of glissandi. Like earlier works, for the production of this work the chance generator played an essential part: TT1 emerged from playing through the many possibilities that were used for the composition.
William Hogarth, The Line of Beauty (1753)