Dialogues Sauvages (Wild Dialogues)
|Setting||Prepared Paetzold square bass recorder in F or C.|
|Period of creation||2012-08-04 and 2013-02-12 to 18 (preparation); 2013-03-21 to 2013-04-23 (1st version); 2014-06-03 to 09 and 2014-09-09 to 10-16 (revised version).|
|Commission / occasion||1st version: Commissioned by the recorder player Caroline Hausen (Ger), funded by the City of Nuremberg (Department of Arts and Culture) (Ger) and by the Deutscher Musikrat (German Music Council).
2nd version: Commissioned by the association SNIM (spontaneous network for improvised music) in Vienna (Aut), funded by Norsk kulturråd / Norsk kulturfond (The Arts Council Norway / Norwegian Cultural Fund) (Nor).
The main idea behind the piece is the creation of a dialectic dramaturgy within the monophonic limitations of solo music. During the entire duration, two dialogue partners (played by one and the same musician) lead a continuous discussion between two basic motivic materials: long and sustained single notes versus articulated repetitions of short notes.
The piece is subdivided into 7 parts forming three major arcs of suspense: parts 1, 3 and 5 create elongated “dal niente” crescendo lines (in waves), with decreasing durations of the sustained notes and with increasing number and density of the articulated short notes. Parts 2, 4 and 6-7 constitute retrograde “al niente” decrescendo lines. The three culminating climaxes, each at the end of the crescendo and at the beginning of the decrescendo parts, grow in intensity from time to time, resulting in a more and more heated, “wild” and absolutely exhausting debate.
In addition, the majority of motivic cells operates with micro-dynamics (hairpins), thus opening up for the entire harmonic range of the instrument, from airy, hollow subtones to high overtones, within short periods of time.
However, these multi-circular behaviours of the dynamics mainly determine the timbre of the instrumental sound. In strong dynamics and due to the exchange of preparation objects (in shorter sections between the 7 main parts), the preparations trigger a parallel timbral meta-development, running from whistling harmonics via sliding harmonics via high animalistic scratching noises to low animalistic scratching noises. This rather linear timbral progression can be listened to as a long timbral glissando downwards und consequently, as a long timbral closing gesture spanning the entire piece.
Nevertheless, the overall preparation setup for the Paetzold square bass recorder is arranged in a way that the ordinary recorder sound always remains a well audible sonic foundation for the aforementioned timbral dramaturgy. During the climaxes, this eventually leads to complex dialogues between up to 4 different timbres of continuous sounds: instrumental sound, vocal sound as well as the sound of two simultaneous preparation objects.
23rd Composers’ Forum Osnabrück, at the Gartenhaus (Garden House) / Concert Hall of the Osnabrück University of Applied Sciences (Ger) – amplified
Culture house Midsommargården (Midsummer Courtyard) in Stockholm (Swe), arranged by Samtida Musik – amplified
Festival Ars Musica, at the cultural centre Espace Senghor / Salle 1900 in Brussels (Bel) – amplified
St. Agatha Church / Angelmodde in Münster (Ger)
Nuremberg University of Music in Nuremberg (Ger) – workshop presentation
Broadcast on SR P2 / P2 Live (Swe) at 19.03 h, live recording from 2017-03-24 (New Directions Festival), with an introduction by Märet Öman including an interview (excerpt) with Pär Freij
Discussion series Art Brunch, at the studio house Schaumbad in Graz (Aut), lecture-performance
Art exhibition Bricolage (vernissage), at the Palais für aktuelle Kunst in Glückstadt (Ger), lecture-performance
New Directions Festival, at the Studio Acusticum / Main Concert Hall in Piteå (Swe), radio recording by SR P2
Concert series Unerhörte Musik (Music unheard-of), at the BKA Theatre in Berlin (Ger)
Festival Regionale 3, at the art association Flutgraben e.V. in Berlin (Ger), live interview with Steen Lorenzen – amplified
Festival Regionale 3, at the Overbeck Society / exhibition pavilion in Lübeck (Ger)
Kunstnernes Hus (Artists’ House) in Oslo (Nor)
National Congress of ERTA Germany (European Recorder Teachers’ Association), at the Federal Academy Trossingen (Ger)
Long Night of the Sciences, at the Archives of the Evangelical Lutheran State Church of Bavaria in Nuremberg (Ger)
Ultima Oslo Contemporary Music Festival, at the Loftet (Skippergata 22) in Oslo (Nor) – amplified
Dorint Hotel in Wustrow (Ger), organized by the Künstlerhaus Lukas in Ahrenshoop (Ger)
Kunstnernes Hus (Artists’ House) in Oslo (Nor)
nyMusikk concert hall in Oslo (Nor)
Echoraum in Vienna (Aut) – world premiere (revised version)
Oberpfälzer Künstlerhaus in Schwandorf (Ger)
Festival das kleine symposion, at the Echoraum in Vienna (Aut) – world premiere (revised version, first half)
Festival Aktuelle Musik 014, at the castle chapel St. Walburgis in Nuremberg (Ger)
Kunstpalais in Erlangen (Ger)
Former AEG area / arts centre in Nuremberg (Ger)
Academy of Fine Arts / exhibition hall in Nuremberg (Ger) – world premiere
|12,5%||Selection for a commission by SNIM (spontaneous network for improvised music) in Vienna (Aut), 6/48 (2014-03) [1st version].|
bars 3-4, 19-20, 42-43, 55-60, 70-74, 80-82, 87-90 (1st version);
duration: 1 min 57 sec.
Stockholm (Swe) 2018-12-17;
Culture house Midsommargården (Midsummer Courtyard), arranged by Samtida Musik;
duration: 13 min 18 sec.
Camera / video editing: Ansgar Beste.
Caroline Hausen (rec);
bars 17-18, 39-42, 51-52, 63-65, 75-78, 84-85 (1st version);
duration: 2 min 7 sec.