Edges, Wreaths, Junk
Book 1: When Everything Was Forever 24 small pieces for piano ca. 15 Min. composed 2001-2003, Premieres 2007 and 2009 → Download pdf 312 kB Book 1: When Everything Was Forever: Pieces1. The Big Things Lurk On The Inside Unexpressed (ca. 48) 2. This Dangerous Sharp Edge (ca. 20) 3. In The Halfshadow Between Two Worlds (ca. 1' 20) 4. Just A Sparkle In Her Eye (ca. 11) 5. As If The Window Was Still Standing Open (ca. 30) 6. Divided Horizons (ca. 1' 05) 7. When Does Later Become Now? (ca. 24) 8. A Liquid Pain Under The Skin (ca. 41) 9. Confusion In A Deeper, More Secret Place (ca. 16) 10. In The Soothing Folds Of The Facts (ca. 33) 11. Love. Madness. Hope. Limitless Joy. (ca. 1' 37) 12. Because The Footsteps Are Smudged (ca. 41) 13. Threading The Moments Like Precious Pearls Onto A Necklace (ca. 49) 14. The Bleached Bones Of A Story (ca. 35) 15. With Crumpled, Happy Edges (ca. 1' 10) 16. Where Do The Birds Fly To Die? (ca. 13) 17. Like An Inexplicable Loss (ca. 52) 18. Noisy Smile (ca. 24) 19. As A Silent Something In Socks (ca. 21) 20. So Vague In His Similarities (ca. 22) 21. Steal Back The Present (ca. 53) 22. As Withered Roses In The Wind (ca. 29) 23. In Its Unreconcilable Distance (ca. 14) 24. With The Moon On Its Wings (ca. 22) The titles of Book 1 are taken from the novel "The God of small things" by Arundhati Roy. Introduction
The 24 small pieces of the first book, lasting between 11 seconds and 1 minute 40 seconds
bring together the most diverse sound production techniques of modern piano playing.
The score captures them only on a stationary level. It requires great imaginary powers
to comprehend these pieces. Because it is the gestures themselves, the motion of
playing the piano which is turned into language. The physical act of playing the piano,
the bodily motion, which results from each specific activity on the piano is a gesture
because as Villem Flusser put it it represents something, because it makes sense
of something. The external posture of the pianist, created from a particular action,
corresponds to the internal attitude which reflects the expression of the piece. A concept
such as this goes against the currently visible trends to place a greater value on acrobatic
techniques and spectacular finger speed rather than the precision of feeling and soulful skill.
PerformancesFirst Performances: October 14th, 2007 Approximation-Festival Düsseldorf, → Frank Abbinanti, piano (16. Where Do The Birds Fly To Die?, 17. Like An Inexplicable Loss and 18. Noisy Smile) October, 16th 2007 Berliner Kabarettanstalt, Frank Abbinanti (12. Because The Footsteps Are Smudged, 13. Threading The Moments Like Precious Pearls Onto A Necklace) September, 20th 2009 KlavierAtelier Casper, Oldenburg, → Christiane Abt, piano (19. As A Silent Something In Socks, 20. So Vague In His Similarities and 21. Steal Back The Present) Further performances: Oktober, 16th 2007 s.a. (16. Where Do The Birds Fly To Die?, 17. Like An Inexplicable Loss and 18. Noisy Smile) |