Im Auge des Klangs (Second Version 2020) (2017)
(for orchestra)

The starting point of this piece was the first bar of Mussorgsky's "With the Dead in a Dead Language" from The Catacombs in the instrumentation by Elgar Howarth. I immersed myself in this fascinating mixed sound of the trumpet, marimba, and xylophone, which on the one hand is suppressed and latent like death, on the other hand, distant and eternal, and “travelled” with it.

A central aspect of my work is still the fascination with the phenomenon of perception and understanding of music. Just as complex connections can be built up from words in a story, this is also possible in music. In addition to the design of the time, spaces can be evoked. First of all through the dynamics, the differences in intensity show distance and nearness. The size of an imaginary space can be determined by resonance and echo.

A completely different element of musical orientation is deciphering the meaning in the context. Music may be rooted in some kind of preverbal communication. We not only recognize meaning in sounds, such as hollow, pointed, or rough but also process them according to musical syntax, a kind of sentence structure.