Musical Compositions

The main idea behind the piece is a confrontation and fusion of two timbral pro­ces­ses.
The lower string instruments, from 2^nd violin to double bass, undergo a timbral de­vel­op­ment in 3 equally long parts from a dry and per­cus­sive preparation sound to a sus­tained and dis­tort­­­ed bowed sound. This is achieved by 3 dif­fer­ent playing techn­iques: Plucking the prep­a­ra­tion objects or the strings with the fingertip, strik­ing the strings with the fingertip, with the palm of the hand or with the hair or wood of an ordi­nary bow, as well as bow­ing the strings with a plastic comb or with the hair of the bow.
The 1^st and 2^nd part appear as a rhythmical, moderately tensed dance of plucking resp. strik­ing attacks which trigger rattling sounds of the preparation objects. The 3^rd part reduces the rhythmical energies and creates a gradual crescendo from a mys­te­ri­ous anticlimax at the beginning up to an ec­static culmination in the end.
Apart from singular initial plucking attacks, the 1^stviolins increasingly and mainly bow on the strings with the hair of an ordi­nary bow producing sounds distorted by the pre­pa­ration objects. The timbral de­vel­op­ment (in one part) ranges from slow, pedal point-like glissandi via fast, lively glissandi and twittering staccato notes to agitated tremolo motion.
These two groups of the string orchestra act as dialectic antagonists who gradually converge in the last third of the piece and finally fuse within the concluding tremolo.
On the whole, the unusual and unexpected sound of the string orchestra along with a re­pet­i­tive, canonical and dance-like rhythmical struc­ture result in a bizarre and rit­u­al­istic musical character.

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