The idea of "Krimis" developed primarily from a feeling of nostalgia

oriented towards the 1950's and 60's. The design and architecture of

the time, its avant-garde music and experimental theater, its

outrageous painting and fashions with scents and colors accented with a

 

cool whiff of jazz, and, of course, film - all these things from this

dynamic time continually impress me.

I must of course add that I did not live in the 1950's or 60's; one

could refer to this yearning as an artificial or simulated feeling.

Nevertheless - this "nostalgia" excited me and I sought a form that

would give it expression. That is how "Krimi" - (a dream envisioned) -

came into being.

 

O.R.

 

 

In Intermezzo I have used a text pieced together from motives used by the Russian author W. Sorokin in his work “Zhrat!”(“Devour!”). The text is however (as far as its integration in the piece) presented in a different context and organized differently as that what Sorokin originally wrote: Fragments of speech, of conversation, are dispersed among the players and create thereby the illusion of communication.  More exactly, the communication that takes place, seen from a purely grammatical point of view, exists; in terms of meaning, however, is absurdist.  The fragments are typical expressions of speech, colloquial sayings, and become in the context of the piece a game that plays with the boundaries between two types of expression.  On the one hand the text is used as speech material – I work with the phonetic sounds of the words (taken from the work of the Russian philosopher A. F. Losev, whose work “the Philosophy of Names” was an indirect source of inspiration for this piece) – on the other hand the text does carry a message, however broken into pieces it may be.  This play with text was also the prototype for the organisation of the sound material and division of the instrumental parts.  Intermezzo is a trio for clarinet, cello and piano.

…............................................................................................................................................................

 

 

1. By the way..., it could, for example, half...

2. Yes, .. and in this case..., it would be unconditional...

3. That’s right!

4. ... and what’s more...

5. Actually, it’s not clear up to this point by the way, why not...?

6. Yes, but...

7. ... and ... regardless of that...

8. If it ever...

9. ... from an ontological point of view however...

10. I believe, we can assume that...

11. But of course... and it can even...

.............................................................................................................................................

12. ... and beside all the rest...

13. ... and when it (even)...

14. ... in all probability...

15. ... an embodiment of the intellectual and moral...

16. Absurd!

.............................................................................................................................................

17. Maybe a reason here could be...

18. ... human heartlessness!...

19. ... and bordering asceticism...

20. supposedly scared of (the)...

21. ... an element of desire!...

22. ... like a law of the continuity of matter…

23. ... and about...

24. ... this perseverant striving (always) …

25. ... like an expression of ...

26. ... Contemplation...

27. ... and the everlasting agony of choice!...

..........................................................................................................................................

28. ... and above all...

29. ... this youthful, fumbling...

30. ... Yes, and...

..........................................................................................................................................

31. ... anticipation of some kind of unknown...

32. ... this extreme...

33. ... talent for...

34. ... total debasement of (all)...

35. ... lie...

36. ...an odious victory...

37. ... and incessant...

38. ... and the quieting all sorrows...

39. ... and the notorious coincidence of destiny...

40. ... and suffocating...

41. ... the sensation of freedom (and) ...

42. ... like a term from the golden mean...

43. Thus, you could allow that without restrictions...

44. It’s also useful to say that…

45.  the assumption that, in spite of a reasonable intention…

..............................................................................................................................................

46. ... is an ultimate goal of Socialism...

47. ... namely...

48. ... in the case of a belated spring (also)...

49. ... a path towards National-Populism...

50. ... of the sun’s rotation,...

51. ... the sick, provoking interest...

52. ... unfounded commotion...

53. ... subtle truth...

54. ... flowery speech about the...

55. ... uniquely individual...

56. ... the banality of existence and...

57. ... like an imperative, the…

58. ... destruction and recovery...

59. ... invisible resemblance to...

60. ... an elaborately provoked...

61. ... a loss of orientation...

62. ... inconceivable double-sensuality...

63. ... and a doubt that...

64. ... in the late Middle Ages...

65. ... in the pathos of the avant-garde...

66. ... like the secret of the Russian soul...

67. …making an epochal impact…

68. ... and this in aspect it means...

69. ... true to love...

70. ... and self-will...

71. ... kitsch and eclecticism of speech...

72. ... like a bad dream from which...

73. ... and an addiction for...

74. ... and the correlated mindset...

75. ... and also the sexual problems...

76. ... and unbelievable...

77. ... shadows and reflexes...

78. ... poignant...

79. ... agony of the 60s generation...

80. ... and corns and weed...

81. ... and an asset of the majority...

82. ... like intoxicating air...

83. ... a syndrome of...

84. ... silence and an offering over the ...

85. ... hypocrisy and dull...

86. ... the deliberate...

87. ... reflection...

88. ... philosophy of the double-dealing...

89. ... the staggering between the...

90. ... eye lashes and brows...

91. ... adequate reaction to...

92. ... a small encumbrance...

93. ... and punishment for discrepancy...

94. ... and adult...

95. ... and absence...

96. ... a swindle...

97. ... a reproach of sins...

98. ... between past and future...

99. ... like gambling with...

100. ... and a penny-swindle...

101. ... and persevering persuasion of...

102. ... furthermore... attendants in that time...

103. ... like the movement of flowers at...

104. ... wilted...

105. ... youth of the soul...

106. ... violently abducted...

107. ... arch-shaped change...

108. ... and an expression of meekness...

109. ... democratic...

110. ... usurp of the...

111. ... and plebeian...

112. ... gains from...

113. ... straightforwardness and...

114. ... romanticism of revolution...

115. ... this situation in modern...

116. ... uselessness and ...

117. ... clamour of crows...

118. ... and the effort for...

119. ... around space...

120. ... self-assertion (and)...

121. ... instruction of the ...

122. ... pathetic harlequinade...

123. ... (and) bureaucratic...

124.  ... like a proof of equality...

125. ... catalogue of countermeasures...

126. ... of general masturbati(on)...

...............................................................................................................................................

127. ... the fear of death...

128. ... treachery and...

129. ... cowardly hope for...

130. ... a shock of social propa...

................................................................................................................................................

131. ... the opinion of the intellectuals…

132. ... a burp of postmodernism...

133. ... an extraordinariness that...

.................................................................................................................................................

134. ... of depressing poverty and trivial...

135. ... like a Neudorf variation of the Sicilian Defence...

136. ... triumph of one’s own falsification of filth...

137. ... empty chatter…

138. ... scurrility...

139. ... charming...

.................................................................................................................................................

140. ... and also the nausea of...

141. ... a forcefulness of the glance...

142. ... like a protest demonstration...

143. ... of the totalitarian state...

144. ... on this unique winter morning...

145. ... and the smelting of … bad omens...

146. ... and the philosophy of Kierkegaard and Heidegger also...

147.  ... unrhymed scene with...

148. ... and self-castigation...

149. ... perpetual...

150. ... debate of the...

151. ... an art, always on time...

152. ... active meddling with...

153. ... a fixation on the...

154. ... bad taste...

155. ... relentless battle against the...

156. ... the bliss of reassurance...

157. ... of the storyline sequence...

158. ... in a moment of escaping...

159. ... and suddenly arriving..

160. ... flaming...

161. ... refuge for a...

162. ... frighteningly incomprehensible...

163. ... cynicism and...

.................................................................................................................................................

164. ... futility of the efforts...

165. ... a mysteriously compelling...

166. ... brawl at the...

167. ... heartbeats...

168. ... foolish bragging and...

169. ... the promise of something new and unexpectedly beautiful...

.................................................................................................................................................

170. ... alienation and unavoidable...

171. ... thoughts that seem at first glance not to be of any practical significance (either), but that at closer inspection reveal an inescapable inner logic and (a) resulting persuasiveness…

172. ... unceremoniousness...

173. ... and neck breaking attempts to ....

174. ... shamelessness and ...

175. ... the foreshadowing of love buried in a bewildered soul...

176. ... simple...

.................................................................................................................................................

177. ... bigotry...

178. ... the conviction that art must be socially committed and...

179. ... disgraceful...

180. ...  a duty always...

181. ... creeping inspiration...

182. ... the smile of the...

183. ... indulgence with...

184. ... indifference for...

185. ... a greyhound...

186. ... secret alliance with...

187. ... static allegation...

188. ... exposure of the ideals...

189. ... direct mockery of...

190. ... snotty...

191. ... relative...

192. ... airless...

.................................................................................................................................................

193. ... deflection of the...

194. ... chasm between the ...

195. ... typical conformism, if you’ll pardon the expression...

196. ... a chance again...

197. ... flaccid opposition...

198. ... the obstacle race...

199. ... a wish, for any price...

200. ... the unity of these opposites...

201. ... unbearable...

202. ... haste of movement at the...

203. ... abstinence...

204. ... provinciality of this...

205. ... fluent sliding on the mirrored surface...

206. ... enlightenment ... a message of...

207. ... opposition and...

208. ... the warmth of the rumpled bed that...

209. ... backbonelessness...

210. ... soiling of the consciousness...

211. ... the means for...

212. ... heinously...

213. ... fascination of a...

214. ... decomposition...

215. ... and pretty well gone off...

.................................................................................................................................................

216. ... full and unconditional capitulation to...

217. ... sickening...

218. ... necessity to...

219. ... realisation of the...

220. ... physical...

221. ... search for the...

222. ... concurrence...

223. ... and annoyingly...

224. ... plagiarism of...

225. ... thinking about the eternal...

226. ... a sneer...

227. ... Mr Ivanov....

228. ... conceited...

229. ... pure zero...

230. ... this core of...

231. ... and disappointment with...

232. ... Yes, and also...

233. ... self-wholesome...

234. ... Yes, and maybe...

235. ... But of course...

236. ... and these circumstances, but...

237. ... but if it...

238. ... and anyhow...

239. ... and so to that...

240. ... Yes...

241. ... and... so...

 

 

The basis of this piece is an examination of the boundaries between stable and mobile structures, different matters and pulses and other elements inside the musical material.  I attempt to use the different abilities of the ensemble that go beyond the instrumental; the expressive forms of speech, phonetic elements and gesture also play a role.  It is out of these elements that I have constructed a free expressivity, which is then enclosed in a structured form.

O.R.

 

 

Ressently, I have been following what is currently happening in visual arts with growing interest. Many ideas in contemporery painting, graphics, sculptur, installation seem to me to be very close to my own musical purposes. Notions such as density, relief, volume, texture and others formally related to visual-art have had great imprtance for me in the field of the sound.

 

My numerous experiments with the grand piano, the posibilites of wich are almost bounless and provoke for most diverse, unexpekted and sometimes paradoxical ideas, became one of the departures for my work on Installation-Landschaft.

 

The grand piano is placed in the center of the Landschaft, and everything else is  installed around the grand piano as reflections of the impulses it produces. One can hear various, points, blurs, lines-beats, timbral and textural transitions. The internal reliefs that expose hidden surfaces of  space and to cause new dynamics of  movement are also gradually reveled.

 

Combination of the elements of movement and statics have great impotence in this installation. I interpret the ensemble as the unity. Instrumental groups do not contrast with each other but rather continue each other as reverberations from grand piano, at the center (grand piano  >  percussion  >  winds  >  strings).

O.R.

 

 

“Giocoso” is a Badineria , composed as a homage to Edison Denisov, the initials of whose name (translated into the tones E, D, E-flat)) comprise the core of the piece.  I also use certain telling stylistic traits of Denisov’s music, which are then transformed to bring new meaning to them.  This play with styles and tones is a sort of game for me.

O.R.

 

 

“Points and movement” was written in 1995.  The piece begins unisono with the pulsation of a point, out of which the individual properties of the instruments slowly press themselves, as in relief.  The pulsation becomes a sort of ostinato at the end of this relief section, from which the movement is released.  One can draw an analogy to the division of a monochromatic light into its three base colors, which then slowly draw back together as one.

O.R.

 

 

The piece was written in 1992. One of the major ideas is based on timbral contrast on different grades of sound imagination, which is accomplished with the help of various comparisons : "clear" and mixed timbres, overtones and undertones, sound with difinite and "noise" sounds.O.R.