in five parts can be heard as one piece in five parts.
it opens with flöten,
for solo flute . tracks 2, 4 and 5 are combining flöten
(1998), stein reiben
(2008) for stone harp and hauchen (2016) for trumpet (three solo pieces
from the event series) into 3 possible versions of events #2 and events #3. in the
middle (center) section of the piece stands variable densities in space
for 8 bass drums and 2 trumpets.
eight bass drums are spatially divided and all play the same slow beat,
though never all of them at the same time, letting the sound wander
through the space. Sometimes only one drum sounds, sometimes a few of
them together. In the latter case one can hear low frequency beatings.
The 2 trumpets, one to the left, one to the very right, are playing a
very slow pulse with noisy sounds, independent and dissociated from the
beat of the drums
events #2 flute and stone harp
in this version of events #2 the two
solo pieces flöten, for flute, and stein reiben, for
stone harp are superimposed in various ways.
events in 5 parts
events # 2 flute and stone harp
antoine beuger (flute), christoph nicolaus (stone harp), burkhard schlothauer (trumpet, bass drum)
► events # 3 (12:29)
► variable densities in space (11:48)
events # 2 flute and stone harp (0:00 - 12:11)
events in 5 parts
before starting the event series in 1995, I had been occupying myself
with nonrepresentational mini- malist painting, in which, rather than
representing anything from the objective world, the artwork itself
becomes an entity, an object of the world.
would it be possible to realize such a degree of abstraction in music?
in this series of compositions for solo instruments each sound by
itself is conceived of as a mono- chrome painting on a white wall of
silence. the flow of time moves listeners from one sound tableau to
another. pitches were taken from the inexhaustible variety of possible
frequencies within the range of audibility. tones were understood as
complex sounds, as a sum of partials and noises going along with their
as the pieces were to be realized by instrumentalists, the durations of
the sounds were based on their physical possibilities - a breath, a bow
- or on the physics of the instrument - the resonance of a piano string.
in these pieces, contrary to academic musical practice, the player is
encouraged to focus on unlok- king the manifold sonic possibilities of
each sound in these pieces is obtained through a highly disciplined
act, eked out by the musician with a tranquil power. born to live
briefly, each sound soon returns into silence.
wandering of stars
not making sense
a few years later (1998) the idea evolved to let these solo pieces come
together in various combi- nations, thus allowing events to emerge and
take place. In the event series the initial idea of single monochrome
sounds is thwarted. Acoustic coincidences occur, manifesting themselves
as complex wave structures, ever new amalgamations of sound materials
flöten - to antoine beuger
stein reiben - to christoph
variable densities in space - to craig shepard