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Lalangan (1982)

for Percussion and Piano

LALANGAN belongs to my early series of chamber music pieces (mostly duets) where iI was very interested in playing experiences that could be called "ritual" in the widest sense of the term's meaning. This orientation (that reflects a peculiar attitude of playing, and can also be detected in the actual composed texture) which is of great importance for me until today, was signified in the early 80s especially by a reduction of the musical material.

It was the attempt to "undress" the musical elements via utmost reduction, in order to achieve possible "neutral" elements without any imitational or programmatic connotation. The aim had been musical elements that are somewhat "empty", but especially by that (and also because of a special temporal structure) lead beyond themselves.


If this feeling of emptiness, this feeling that something is 'without form and void', is accepted consciously, it may cause an incredible richness of perception..."

(Malcolm Milner, Psychoanalysis and Art, 1959)

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