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KreisIncrease (2018)

performance mit musik, solowerke mit Elektronik, video, zwei Klaviere und Elektronik

KreisIncrease (2018)

for two pianos, tape and live-electronics

premiere: 21.05.2018 Kunstfestspiele Herrenhausen

performer: GrauSchumacher Piano Duo
duration: 15 min

commissioned by Kunstfestspiele Herrenhausen and Ernst von Siemens Musikstiftung

technical set: live-electronic & stereo-tape + 3 channel-tape

score/electronics: contact me

part of: Trilogie für zwei Flügel, can be performed independently

audio recording is coming soon



program text

KreisIncrease is the latest composition in the „Trilogy for Two Pianos” series and occupies its midst.

Originally, Key of Absence was to take this position, celebrating emptiness with silence created by serene absence; the emptiness emerging when an unstoppable stream of impermanence concentrates in a bird’s eye view onto the pianists‘ working of their material in Key of Presence; the silence in which energetic urgency quietly disappears in exchange for an indiscriminate terrain of possibility . However, Key of Absence ended up taking another route – the idea that „future“ and „memory“ are nothing but constructions – preventing us from accepting our existence as fleeting and simultaneous- was too appalling for me.

KreisIncrease therefore now takes the place of Key of Absence and refers to a piece that I love very much – “Silence and Repentance” (orig.”Stille und Umkehr”) by Bernd Alois Zimmermann. I did not want to quote or deconstruct this existing piece of music, nor put original meanings into a new context. Although I incline towards its harmony, leaning on the parallel existence of different velocities, on the circling return of impulses – i.e. on its most predominant parameters – my question is, to what extent is it possible to translate the „meaningfulness“ of Zimmermann’s „resonances of sound and sound production in us „(Jean Luc Nancy) with my own compositional standpoint. Also, to what extent is it possible to conceive of two pianos, two people plus electronics as an orchestral apparatus, in which all sounds are naturally embedded and don´t have to be produced by pianistic performance. (And so they return, silence and indiscriminate territories of possibility: and now I can – with the help of Zimmermann – finally allow myself involvement with them.)

In “Key of Presence “and “Key of Absence” each player embodies his own melody, but in “KreisIncrease” they find themselves in an ostensible banality of individual procedure. It is only through verbatim supplementation via onstage stereo amplification that the sonority emerges – accidents, coincidences, flow, blackout, the performers’ failure to be precise, or their ability on a specific day; these are realities that create tension between the musicians and the sounds they produce.

“KreisIncrease” addresses the possibility of isolating that which constantly encircles itself, recognising Zimmermann´s use of ostinato as a voice unheard and unredeemed. Simultaneously, relationships are continually present in the musical manifestation: the relationship of the elements to each other, and between the pianists , as a source of fluctuating energy .

From these reflections upon the meaningful interpretation of „silence and repentance”, the title „KreisIncrease“ was born. One could also say that in searching for something that could call itself REAL, „KreisIncrease“ is the REVEALED- in consummate execution.

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