In many of my compositions, I am constantly looking for something that perhaps could be called fragility and immersion.
Album Hudba (Za názvom), which translates as Music (Beyond the Name), contains two compositions written for the ensemble Ricercata. For me, both pieces kind of complement each other. Hudba (Za názvom) focuses on a single melodic line and horizontality. The musicians are asked to play at a slightly different tempo, thus creating a kind of a soft delay. Players do not have to keep their individual tempi stable throught the piece, allowing different rhythmical/temporal (micro)relations to appear throughout the composition.
Ma fin est mon commencement, on the other hand, stays in a three-voice texture throughout the piece, focusing mainly on consonances and verticality. The outer voices (violin and clarinet) are, with a few exceptions, led in strict contrary motion. The piano, on the other hand, plays just one pitch during (almost) the entire composition. There are a few exceptions to the strict counterpoint, quite important for me. For all the exceptions to this counterpoint rule, I would draw flowers as Arvo Pärt did in the manuscript of his For Alina.
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