These are the selected snippets from the development periods 1 and 2:

comment: I tried, as much as I could to embrace the pluralism of our different voices. The piece starts with a modification of my first proposal (according to some overall noise based patterns that I notices in sketches of other composers). This noisy ‘leitmotiv’ is juxtaposed with unrelated material by other composers, but it keeps reoccuring. The anamorphosis/departing from a common point is present in both the twisted proportions of subsections, as well es in gradual modifications of the initial ‘leitmotivish’ sound. My goal was (but really in this short time we had impossible) to start with presenting at least one material from each composer, then shortening these bits up and slowly starting to fuse elements together. I am sorry to say that I have only managed to finish the ‘exposition’ part of my idea. What I have noticed in our sketches is the overall tendency of either writing very dark or very light sonorities, so I profited from that fact in constructing the overall dramaturgy of this excerpt.

comment: The way I see it is that the previously selected snippet’s first 4 bars are the common point that we are deviating from. As proposed by the selected comment, I tried to go away form the collage-like opening and develop more each individual material as well as tried to merge diverse compositional voices. As a next step, I could see converting the first violin into descending col legno battuto cloud and other strings following (as was proposed in ‘on the continuation of the breathy airy lines’) which would lead to a frenzy of jumping between various elements exposed so far up to a point where they are no more recognizable, and this jumping between extremes becomes a new anamorphic texture on its own (which could also be interpreted as an entry to our new section).

________________________________________________________________________________________________

previously selected reflection: I believe that the selected snippet, “the beginning”, encapsulates concretely some very idiomatic ideas presented during the incubation phase. It is very clear that the structure of the introduction is summing up those generalized phrasal ideas and juxtaposes them in a linear and transparent manner. However though, in order to produce dramaturgy, flow, and organic evolution it is essential to deconstruct the snippet and focus on its internal and structural characteristics. This gives us ideas for development of the sonic and structural domains for the composition. Considering the structure of the snippet as A(1-4), B(5-6), C(7-9), D(10-13) & A’ (14-19) we get 4 distinct and idiomatic phrasal blocks that we can deconstruct and elaborate. I believe that by doing so we can all contribute to the dramaturgical flow rather than the juxtaposition of heterogeneous material. I believe that this can be artistically more engaging and will challenge all of us in a more organic and thoughtful approach to the concept and the sonic ideas that have been proposed. Either A, B, C, D or A’ can equally serve as a valuable source for COMPOSING.