UPBEAT

Alarm call as an introduction – eight voices cluster welded together which don’t dissolve – several explosive efforts to liberate from the embrace of the clusters but the magnitism clustering the eight voices together is always stronger – all things considered a desparate harrowed effort to establish an order, a convention – hopeless – no way out.....

FEVER

Nervous, hectic, reeling, without a firm footing, thrown out of course, no orientation – an abundance of polyrhythm so that the beat disappears from perception and...without beat no existance.....

TANGO MORTALE 1 (MEDIA VITA IN MORTE)

Slow Habanera – phrygian – cantus firmus „Mitten wir im Leben sind mit dem Tod umfangen“ („In the middle of our life surrounded by death“) – like a red thread, like an idée fixe which is the origin of all.....

CODE

On dark underground morse signs in a polyrhythmical „trialogue“ – a music which does not develop in a sense of going on with musical spinning (because the development is inside the codes but not perceptible semantically, we only hear rhythms) but as a spiritual program a sustainer of an imagined choreography – music has the character of occurance, vision, dream, relatively short, an intermezzo, nevertheless the core.....

TANGO MORTALE 2 (MEDIA VITA IN MORTE)

A three voiced setting by Michael Praetorius – against it as a counterpoint a second music in a rhythm of a Habanera – simlutanity – foreground and background – the death is polyphonic, bitonal, polyrhythmical, bisexual, androgynous – she, death is a tango dancer.....

RELAX

Relaxed, sophisticated music buildt on a riff – of a certain elegance, charming, fashionable, easy listening, a bit kitsch – a music en passant, obliging, like a small talk („Nice having seen you again...“).....

BLACK OUT

The return of a seeming identity seperated by black outs – then: same tempo, same melody, same rhythm, same harmony but something is different – the difference is familiar and strange at the same time, like a half perception („How strange you are to me, confident friend...how strange I am to you, confident friend...“).....

ENERGY

Powerful, continously loud – becoming more virtuoso, more frolicsome, more frantic, eccentric, headless, out of control – then a hard cut into midst of the music like a mental black out, a film stop, cardiac arrest (stagnation of heart?) – finished, over, end...gone.....

MONOLOGUE INTERIEUR

Viola solo – like a recitative, free in tempo and rhythm – a specific musical turn will be „remembered“ (an inner monologue is the outside seen from the inside...).....

PASSION

A duet for clarinet and bassoon – not really a duet but two alternating solos, sometimes overlapping – rather a character of two monologues – each instrument „speaks for itself“ – the clarinet (the female instrument) in its musical gesture throughout positive in its self-posession, initiative, building on a melody, producing something – but then loosing itself in flourish, interrupting the flow of the melody, at a standstill, at last becoming silent – the bassoon (male) in its musical gesture „as a stranger to himself“, elegiac, moaning but restrained, never open,like suppressed – and here the pause too, becoming silent, struck dump.....

TANGO MORTALE 3 (MEDIA VITA IN MORTE)

A Habanera like in a night club – the hymn being hidden within the musical structures, not audible as a melody (so within the tango as a non visible static) – always damages again – character of a torso – no release of emotions but detaining the emotions and therefore fragmentic – sadness, resignation.....

TAPPING

Swinging – always full of rhythmical surprises – a bit „as from former days“ (Fred Astaire, Ginger Rogers, Gene Kelly) – music like an „event“ knowing from the beginning what will come; no contents, only surface – music of irony.....

FUGA (ESCAPE)

Intro: a „waiting“ music, without movement, as frozen, of glass, cold – but then (out of the blue) uprising – breathless tempo – the theme of the fugue highly nervous, like on the run (escape away from? escape towards to?), music on the run from itself, not depressed like a music away from, not hoping like a music towards to but only tempo,tempo,tempo.
(„ Is there really a tempo giusto? Or do we dream it, dreamer? Is there not always an individual tempo casually meeting with another tempo individuale...by pure chance? – The right tempo, a contradiction, it breaks under reality. No way out. One has to dream it – Do we love, dreamer? Or could we only dream to love? - I’m a dreamer...“)

(From „13 rudiments“ to „Tempo giusto“, 2004)

More Infos: STAGE WORKS "Tempo Guisto"
More Infos: ENSEMBLE "Tempo Guisto"