Due to the necessity of reviewing the musical representation within classic music – in its representation by the orchestra (specification or rather conservation by notes) -  I gradually developed new ideas and possibilities to form in an artistic way coherences in music; however,  I refer to new formal possibilities of contemporary techniques of composition.

I faced the challenge to combine the ‘traditional’ with the ‘new’ in using all artistic and formal tools of expressions – without any conventional commitment. By indispensable artistic experiment the solution turned out to be: all artistic media should be combined in new sphere of consciousness and form because only this solution may lead to a three-dimensional character of an artistic vision.

Project Description

The music sphere conception will demonstrate  the possibility to extend the activity area of conventional instrumental technique. By MUSIC SPHERE  a special instrument case as follows is meant:

On top of a steel construction, furnished by wood,  a closed instrument case (width: 15 m, length: 30 m, height: 6 m) represents an autonomous instrument with specific tonal characteristics and internalised scores.

The developed sphere as such is an instrument – the actors inside turned out to be instruments themselves..

Scores, becoming independent and turned into objects and relieves, require totally new activation. A way of handling the instruments that goes far beyond the conventional is necessary – the musicians enter an experimental field of improvisation, to which the sound installation in return react on their own. This creates an extended dialogue between protagonists and instruments. Thus the music sphere creates a resolving of subject and object.

The musicians as well as the audience will experience sound in a way, which is not only characterized by musical structures but also by a visual artistic expressiveness and dynamism. The music sphere renders the metaphysical one possible, becoming reality during  the performance.

The visual arrangement within the music sphere follows the evolution principle and  takes up elements of nature and cosmos, visualizing a circulation but also reminding primitive elements of sound,  followed by an insertion of music history. Famous composers of different epochs fragmentarily enter the present and its achievements.

Endwall  I

-                  an entire orchestra frozen in its position

-                  musicians inside their own instrument cases

-                  large object of organ figures

-                  the wall behind the orchestra is shaped as a wooden relief; structures of original periodic sounds (the big bang) turn into three-dimensional waves  (the sea - the tides)

 Endwall  II

-                  exchangeable two-sided wall

-                  a) relief of wood and metal: Homage to Claude Debussy’s  “La Mer”

-                  b) big diagram for fields/areas video, computer graphics, computer animation,

-                       film/slides referring to the performance

Sidewall  I

-                  three-dimensionally playable installation

-                  (constellations that remind you of contemporary notion techniques)

-                  every body sounds different

-                  atmospherical structures (world music – there are different planetary relations)

-                  coloured installations made of steel ropes and sheets of high-grade steel which reach into the sphere (the constellations are followed by a playable odysses)

-                  collages of metal for notes and instruments (great explosion)

Sidewall  II

-                  labyrinth of notation lines,  mechanical play for steel balls, which start operating the objects acoustically)

-                  field of performance (figures  step out of the walls as shadows and enter into the sphere)

-                  large installation scaffolding for the protagonists

-                  screens (at the top: industrial culture, mechanical outside world, corresponding tonal structures; at the bottom: flowing water a transition to Endwall  I )

The separation of art and nature is planed to ne neglected in the MUSIC  SPHERE  and thus create a consciousness of profound coherence. The ethetic appearance of art merge with reality, which is absolutely concrete inside its own sphere.

The abstraction of instrumental music, which gradually has become more and more intense (like the vocal music in the baroque period) is reduced to its origins/roots. The instruments are only just scenery – even though they can be played. The musicians must activate the sphere in a self-conscious,  spontaneous and intuitive way.

Media in the Art Sphere

Installation – steel ropes – instrumental objects  -sculptures (wood and metal)

-                  three-dimensionally playable notations

-                  collages

-                  reliefs

-                  video / film / computer animation

-                  composition – music – electronic music – computer sound alienation

-                  performance