The composition of this piece is mainly based on that it should not be written for specific instruments or number of performers and that it should be fairly easy to play. So gradually I decided to try to produce something interesting with simple and little musical material and by using only the two most basic sound characteristics, pitch and duration. Any other parameter/factor (dynamics, timbre, phrasing, tempo changes, sound effects, special effects and ways of performing e.g. ways of bowing, blowing, plucking etc) is left completely to the conductor’s and performers’ discretion and responsibility for interesting effects and balance. The result is ‘pure Counterpoint’ as I call it, something like Bach’s Art of Fugue, perhaps a kind of a formula through which the piece is to be ‘re-created’ differently every time it is performed.
First performance: CoMA Summer School 2002
Commissioned by CoMA in 2002
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