{"content":"\n
\n \n About work:

A glass ball, gently thrown on the piano strings, independently protracts their movement in an incredibly minute and multi-faceted trembling – this is one detail from A Midsummer Night's Dream, typical of my compositional procedure: sound impulses which as if of their own accord develop into passages making an impression of improvisation. My ideal was to get instruments from three distinct groups – wind, strings and keys – despite all their differences, into the greatest possible closeness. Yes, they ought to share their identity, and even illusively metamorphose. The tension between merging (with identity of sounds) and distinguishing (with individual colouring and sprectrum) supports and forms the composition (just like Shakespeare's transformations). And that tension is ticking and knocking; in the translucent air buzzing, pulsing entities flutter about, like characters from a dream. The notes wind round one another, interpenetrate on the tiniest surface, circle about the frequency 300Hz, from which they rise and fade, with \"shorn\" depths and duration, away to muteness, ending in the void. From this zero point in the middle of the work there is a slow gathering of fractal sounds and forces for a free flight; crystalline, airy, oscillating, rumbling, creaking – first of all the notes gain back their elasticity, undulation, duration. And the hitherto omitted deep notes are heard only at the very end of the composition.


\n (author, in: Bulletin Melos-Ethos 2015, p. 71.)
\n
\n \n\n

\n

First performance in Slovakia

\n \n \n 12.11.2015,\n Melos-Ethos,\n The Pálffy Palace,\n Bratislava,\n SK\n\n
Performers: Het Collectief, Toon Fret (fl), Martijn Vink (vc), Thomas Dieltjens (pf)\n
\n\n\n

\n
\n"}