These are the sketches of the fifth incubation period.<\/p>\n\n\n\n
comment: In this small sketch, I am trying to illustrate the relationship between dynamic and static sonic streams. The violoncello plays the role of a “frenzy” and energetic line, with a few embedded regularities – repetitions of material -, whereas the rest of the instruments highlight static and linear evolutions of rhythmic percussive structures.<\/em><\/p>\n\n\n\n comment: So far most of us displayed examples where each instrument plays the whole time. I wanted to offer something, which gives more focus on each instrument as an individual performer. Furthermore, I tried to absorb several ideas that were expressed by others, notably ‘becoming butterfly’. That sketch had a short common sforzatto attacca followed by a sustained pitch – in my case these sustains have been replaced by individual improvisations. At the same time I am trying to respect the idea of anamorphosis – a detailed look will show that each improvisation has the same 9 short gestures, of course slightly adapted to the particular instrument. The relative freedom in time domain, along with these timbral variations, should be seen as anamorphic variances of the same material. The order in which instruments perform their mini-soli is purely arbitrary and should be adapted to the final form of our piece. Due to its uplifting tempo, overall loud dynamics and jumps between extreme registers and noise, I could imagine this excerpt being somewhere close to an end of the piece.<\/em><\/p>\n\n\n\n (comment will be posted soon)<\/p>\n\n\n\n