Wer, wenn ich schriee, hörte mich...
Dense, initially improvised solos of the percussion disengage from a swelling tutti chord, begin to falter, gain tempo once more, and get stuck again and again. The ensemble sets off with the crossfadings of instrumental layers growing quiet and loud. Like with the solo actions, these sound planes tarry in recurring slowdowns and accelerations, the fading up and out of individual orchestral colour tones remain without direction. The tempo of the ritardando figures that start out repeatedly is soon coordinated between solo and ensemble, yet even in this shared rhythm the sounds hardly move on. In addition, a new movement joins in, a falling sequence of sounds, which remains self-contained in its spiral, subjecto to inescapable repetition. There is no end in sight, just as with the endless staircase illusion drawn by Maurits C. Escher.
In the fierce escalation, the image is scared away. The extreme heights and depths of the ensemble, the loud metal sounds of the solo go silent - and the powerful gesture leaves behind a false peace: triads, that in the end thin out to empty fifths and are microtonally displaced. With muted thin metal sound, the percussion makes itself heard again, and the increasingly displaced fifths start two-part melodic movements. From this mixed sound emerges a second dynamic highpoint, followed by another break-down. Pulsing regularly with indifferent accents, the piece fades out.
Bernhard Günther
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