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).

comment: Trying to respect the reflexion 4, I work extensively with the glissando as col legno battuto or arco, that was only hinted at in the previous sections. I tried to avoid having all the instruments play all the time, thus the violin got (a rather short, but nevertheless) a prologed spot light. Furthermore, I was working to get more unity from the previously exposed materials, that goes beyond simply exposing them. Also, I tried to work with the sentiment of frozen time, when all the descending wood-like sounding knocks keep falling like bits of ashes.

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previously selected reflection: With regard to the mesostructure (1-2 minutes), I would like to see the composition evolve through the alternation and organic relationship between the high-pitch, percussive pizz. and the and the granular scratches on the strings. But, it would be compositionally and sonically more engaging to focus on the durational exposition of those elements and the esoteric rhythm of their pacing rather than just expose them. For example, let’s try to work on micro-rhythmicities and meticulous articulations of, for example, fast and slow expositions of granular clouds and pay attention to the porosity and the density. In such a way we can focus on the hidden mechanisms that host the sonic material and not just to the material per se. With regard to the macrostructure, I would really like to see some har-core repetitive structures emerge out of nowhere. Like, freezing the dramaturgical time. In addition to that, it will worth exploring the glissando-like textures. that have already been proposed in the incubation phases and have been articulated to the snippets.