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for flute 1 (also piccoloflute and bassflute), flute 2 (also altoflute) piano and percussion



1. Similar to most of my compositions in the last years, various situations of communication play an important role in Quartett No.1. However, in the case of Quartett No. 1, specially composed relationships between persons or musical elements are not the primary purpose. In this piece, a highly charged compactness and unity of the four players is one of the main goals.


2. Unisono playing is in various ways an important feature of this composition. In these passages the utmost blending of the respective voices/parts is extremely important. In passages with different levels (for example page 5 f) utmost independence of the respective level should be achieved.


3. Especially in the fast passages (like the beginning), the notated basic tempo should be considered as the main orientation, although it might be slightly modified if necessary. Such rubato-like modifications may also be applied to short moments, but only if this change is conducive for a better clarity and transparency of a respective passage. It is important that the basic intensity and the tension do not change at all. According to my experience with different musicians over the last years, such a kind of expression only starts to develop after a comparable long period of practising together. The individual ability to play his/her respective part is, compared with other contemporary compositions, almost of "secondary" importance if one considers the amount of rehearsal time. To find or develop a common timing for all musicians via a process of playing together as often as possible (instead of making conducting-like gestures) has to be of highest importance without any compromise. Even all grace-notes ("as quick as possible") should be played very clear and distinct. Distortions of the notated rhythm are intended (for example on page 12) in these passages.