becoming - growing - sprouting
music for orchestra
(fl, ob, corA, cl, bcl, 3 bn, dbn - 4 hn, tpt, 2 ttrbn, dbtrbn - timp, 2 perc - str: 00222)
ca. 7 min.
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The starting point for this composition was the comparison between decorations of stylized nature and this one itself. For example, the decorations of Art Nouveau for the most part consist of floral motifs. Curved, intersecting and entwining lines are reminiscent of plant stems. These decorations are taken from nature and at the same time removed from it by the stylization. In nature, these forms quickly become a dense network and tangle of lines. The stylization remains committed to its concrete imagery of the clear, reduced structure, although the great condensation and acceleration of our life at the same time has begun. There is an inner tension in the contradiction between modernity and the recourse to concrete figurations.
In music it is traditional to deal with lines. I am interested in certain limits of perception: physiologically, humans are able to simultaneously track a maximum of three mutually independent, audible lines. If there are more, then they merge into a network in the perception. Homogeneity and heterogeneity of the material can be recognized in it - provided that there are no clear hierarchies between the lines, in which a melody and accompanying parts, for example, differ. As the mesh continues to compress, it is increasingly perceived as an sound area as the individual lines disappear.
In becoming - growing - sprouting, I explore the boundaries and transitions between stylized order, overgrowing growth and extensive proliferation. And here, apart from the structure, acceleration and speed also play an important role.
This question will be examined in four sections. Each section has 35 bars, and from section to section the tempo increases by a factor of one and a half, and the duration corresponding to that.
The first part (bars 1-35 - 2'55") goes exactly the way described above: to the single line gradually add more, until the stage of the mesh and finally the sound area is reached. The individual parts work in the manner of a canon with transposed or only slightly modified lines. The drums initially mark only the breaks in the individual lines, but form a separate surface in the course of the section.
The second part (bars 36-70 - 1'57") immediately jumps to the level of the mesh, but works with other material. Rising and falling, intersecting lines are easier to recognize, and therefore this section will probably remain easier to grasp, an sound areal impression will not be achieved.
Again other material is used in the third part (bars 71-105 - 1'18"). Here it is chord groups that overlap and form different complexes. On the level of the chord, the surface is controlled, while the rhythmic-structural progression remains transparent.
The last section (bars 71-140 - 52") refers back to the theme material of the first one. Now the whole ambitus of the orchestra is recorded. The sound supply of the individual instruments is limited to a narrow ambitus. This creates an extended, dense, moving sound surface that ends the piece abruptly.