The continuation of sounds of acoustic instruments into electronic
space has recently become one of my main interests. Before, I composed
pieces for solo instrument and tape (Clemens Frühstück, saxophon;
Uli Fussenegger, double bass) with electronic processings of samples
by granular synthesis (the composition of sounds out of tiny particles of a basic material).
Thereby I was interested in
the discovery of novel types of sounds that could also be percepted as a
further development of their instrumental roots. The aspect of an experimental
handling of the material is also important to me when working with computer
algorithms - not regarding the formal abstraction as an absolute entity,
but the possibility to discover novelties by formalisation
(during the experimental compositional process).
As Clara Frühstück made the suggestion of a concert around Mussorgski´s "Pictures at an Exhibition" I thought of a similar kind of working process first, before I realized that the intended formal integration of the instrumental-electronic interludes into the original sequence demands a slightly modified concept. The reference to the pictures should be clearly perceptible whereas the aspect of diversity in sound should be subordinate, rather black and white. I opted for procedures in which a few bars by Mussorgski (recordings with Clara Frühstück) were processed in algorithmically generated assemblages. Not grains of sand, but splinters and rocks from the original were sorted, then in turn chosen by random algorithms, layered, repeated, slightly varied in pitch and tone colour, spatialized. The aura of exaltation and enigma evoked by Mussorgski still seems to shimmer in strange transformations.