4 piccolo flutes and 2 percussions
Taking the poles as extreme states, in this work series and parameters function as meridians. In this process, each instrument stands on its own merits and leaves its own traces. And yet a 'horizontal' interweaving of relations is nonetheless created. The resulting ramifications produce 'backgrounds' - spatial representations - of the 'time paths'. The present is marked out on these backgrounds. Starting from the now, each point in time has its own 'absent' moment, a moment beyond the horizon, as it were. These absent moments create a partly speculative background, which through its appearance becomes reality while at the same time allowing other backgrounds - absent moments - to come into being. In this composition, attention is causal focused on details, on the describing of subtle shifts and changes in relation to another, like timbres as a resolving moment of change, This 'zoom-like' focus on the sound material, becomes, on account of the specific instrumentation, the intrinsic nucleus of the composition. Thus, for example, a delicate branching takes place between the four flutes, which are subtly distinct from another in terms of their timbre. At the same time, a great distance characterizes the relation between the piccolos and the percussion, determined by a specific instrumentation of the percussion. Only the accent-impulses, on the level of 'energetic' moments, bring about a rapprochement, since the accent-impulses are responsible for the form and the timbres. They also present a focus, directed to the dominant moment-bound-time-construction. This ultimately determines the relation between the sound aesthetic and the formal superstructure.
disposition of the ensemble: