And what if the technique itself is a found object? Can we deduce new compositional and technical practices, stealing them for the common, everyday life?
Can the world, the ordinary world become art?
It is, maybe, our task as artists to find magic even in the most common events.
When we draw letters, we actually perform a technique, whose meaning is usually not residing in itself, but in its results (the written language).
Instead, here I was interested in the gesture and its immediate sound result; the act of writing itself is a "found technique" outside the official range of possibilities.
Such technical a-technicality is translated into a peculiar sound result, especially on strings, where the bow positioning can have a strong influence.
I am increasingly fascinated by the surprieses found objects can provide to our perception. They possess hidden voices, stemming from the outside of the "official" instrumental world. They are not designed for a precise musical purpose. They do not posses a technical history.
Nevertheless, or, maybe, precisely for this reason, some "ordinary" objects can reveal unexpected worlds. And what happens when the ostracized, the border-line is elevated to the status of ruler, when the irregular, "atechnical" is put at the core of the composition?
These questions are urgent to me, and in this composition I wanted the instruments to imitate, reproduce and reverberate the musical life of these (extra)ordinary tools. Consequently, I limited the collection of found objects to only four elements; but they are decisive for the formal development.
hidden voices....from the outside
for ensemble of 15 players and amplified found objects
Flute (with piccolo)
Clarinet (with bass clarinet)
Bassoon (with prepared
Trumpet (with corrugated tube)
Horn (with corrugated tube)
Piano (with corrugated tube)