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Haut (Skin)
music for eleven wooden window-sills in the atrium of the Professorenhaus in Lingen
(ca. 18 Min.; comp. 1996, FP: 1997)
In Commission of the
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Kunstverein Lingen
The drummers play in eleven different tempi with uncoordinated metronomes. The texture of the eleven tempi constructs a method of rule-based coarse modelling by means of unsharp information that founds on the so-called “Fuzzy-theory“, theory of unsharp equation systems and multi-valued logic developed in modern informatics.
The intention of this method is to comprehend musical themes not as fixed “Gestalten“ but as ambiguous transformations, thereby making the specific spatiality and the instruments, which are even part of the space, the proper content of the composition. The specific situation of the patio consist in an interplay of the inner and the outer. The drummers look and play through the windows outwards into an outer that as auditorium forms an interior at once. The spatial interdependence between inner and outer is crystallised in the composition where the inner`s demarcation from the outer takes place; in the concrete room: the windows, that are the instruments; or anatomical: the skin.
The composition conceives the merging from one into another of inner and outer and their mutual relation as a gestural movement whose basic directions - from the outer inwards and from the inner outwards - two different motivic-musical themes are growing out.
The first theme is the transformation of a chord-like aggregate of sounds that stands here for the “closed“, collective utterance of the ensemble into the diastatic succession of an increasing tonal differentiation and so its interior, melodious balance is coming to fore.
The unsharp tempo-texture makes the direction of the transformation changing so that one can`t really define which of the both poles the starting point and which the aiming point is.
The second theme is the transformation of an innerly moved surface of sounds into an outer, spatial movement. And like the themes itselves consist of tranformations in the course of the piece one theme is tranforming into another that means the gestural direction is freed from all definitness, the inner and the outer are confounding, utterance and perception are correlating, so that they become unpartable at the end.
The search for such a constellation springs from the fundamental experience of the acoustic orientation in space. Distant sound-places take measures of a room; the questions of the instruments and the answer of the room flow together to a complex situation wherein answers depend on questions. To the listener is given a distance through the measurement that only permits spatial orientation, by confide to him taking an own place in the room.
Maybe we move in certain complex situations all the time - not just acoustically. My music wants to ask acoustic questions to the patio, wants to take its measures anew to perceive it through that hearably anew. It is entirely up to the listener to transfer the acoustic experience onto other fields of life.
1997 Dezember 7th: Professorenhaus Lingen,
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Kunstverein Lingen;
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Anthos Schlagzeug Ensemble der Hochschule für Musik und Theater, Hannover:
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Jan-Hendrik Behnken,
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Daniel Keding,
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Norbert Krämer,
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Thomas Lankel,
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Almut Lustig,
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Christoph Nünchert,
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Anke Rienau and
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Cymin Samawatie - perc.;
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Andreas Boettger,
- rehearse
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