Quintet slowly coming together

Yeap. The first part of the clarinet-quintet (not yet named) is ready, and follows the guidelines mentioned before. The title of the section is 'a preliminary enquiry on containment & flexibility' and refers to the process of filling up musical (or sonic) space in a sort of claustrofobic sense, since I see the stuff ending up to music, as the result of a gradual journey that starts from bodily experiences, and moves towards (or turns into) the more abstract spheres, and manifested concepts in the mind. Music, or more correctly new metaphorical music I see as a mirror of that process, thus being totally dynamic, and demanding from the composer a rule not to be conventional, since the dynamic side dies in the process of writing "conformist music", to quote Adorno & to spice it up with a hint of Mark Johson's Metaphorical theory.
"Flexibility" marking a sort of symbiosis between two or more voices & a virtuosity, that is NOT there for it's own sake, but as a Ligetian glide between different textures, that form a kind of glissandi into one another: a "shadowing" method in relation to the subjects of the (to be interpretated) variation form, taking place more "around" & "in" the large forms and phrases, than following them strictly as "stuff" in them. This is however not a creation of intuition, but a conscious aesthetic solution, as I wrote earlier aboat making my point behind "the spoken word", or between the lines. It is also a statement fore the metaphorical, rather than the narrative aspect of meaning.

So I'm now off to the next part of the work, a primitive rhythmical one, a challenge to write something pulsative & archaic without being stuck in the neoclassical tradition-flow.

More later:


- T