Programmablauf

Sometimes composing resembles the game of musical chairs you play when trying to find a spot in the multi-storey car park, you have to keep going round and round, Up the Up ramps or Down the Down ramps until you find a place that fits the musical vehicle you have chosen to ride, preferably NOT one marked 'Disabled'. Dedicated to princesses frozen inside glaciers wherever they may be.

We beg borrow and steal to make our music. Apparently in polite society one waits until someone is dead before robbing their grave. Here is proof, if proof be needed, that I am not fit to sip wine in the company of societies finest, sorry Mr Lucier, Mr Ashley and all you other 20th century sages still rubbing our noses in your anticipatory plagiarisms.

An exercise, in two parts, on the experience of the “not scalable” of the clearness. The entire piece is a continuous variation of three elements and the relationship between them: the “Figure”, the “Cage” and the “Background”.

This is a fragment or better a “satellite”, a “study” from my mini-opera project based on the texts by E. A. Poe and L. G. Byron. Sister Bone Blues can be considerer as a story of a sister buried alive in the tomb (Madelines Scheintod) and a brother who hears her singing or maybe "her silent howls".