This composition is written for a simple home-built instrument invented by the composer Goni Peles. It is not the product of a technology developed through many centuries; its characteristics have not been polished during a long process, directed towards the production of a large amount of well-ordered pitches (i.e. strictly harmonic spectra).
It has a limited amount of possibilities. The form cannot derive from a complex articulation of pitches or from a combination of the big library of extended techniques developed through decades; what is left is the simple sound, a reduced collection of spectra that have not been shaped in order to fit in an abstract model derived from a linguistic system. In some sense, the sound is considered "as it is". The application of an external logic able to build a form is not desired in this case. What remains is, instead, an organic unfolding of the nature of this sound.
The rough and practically undeveloped nature of this instrument requires a creative effort; the ultimate goal is to find the artistic voice of such simple artefact; to discover the magic of a primordial object.
The space where electronic and acoustic sounds are diffused and melted is a womb and the sound becomes a place.
The score is also conceived as a part of an organic whole, as a space. The timely structres of most of the Western music are abandoned and the score becomes a map. A selector is moved on that map in real-time during the performance, and the interpreter has to improvies according to specific rules. It is always an exploration, and the score is the guidance in unknown territories.
The position on the map also affects tape and live-processing. According to the selector position, different presets and combinations are triggered.
another elusive place
for saxoschlauch, short corrugated pipe, tape, live-score and live-electronics