Nahen – Weiten
Electronics, piano and stereophonic fixed media
2011 / ~40'
True to form each seemingly infinite space emerges in utmost proximity to the moment. A sentence, spoken by the composer: “The truly genial aspects of this piece will be found not in transitional stringencies alone; they lie – first and foremost – in its own reflexivity.” Perhaps that sentence originally referred to intentions – to the work – but it’s semantic being was shaken loose of its sounding reality by radical actions of signal processing. What remains serves as the composition’s most prominent ridge in time. Late in the piece – this extended sounding territory – and similarly categorised as pitch-turned-object, a piano joins in. But the piano is not only a physically constructed, European history of music; it also serves as an extension to the human body and – without being interfaced to a mediated other – allows for direct expression in motion.
Published on the artist’s edition Nahen – Weiten (Aufstieg AV-Künstleredition / KE2015-12i-03)