1 Piece with a duration of ca. 10 Minutes
Dedicated to Elizabeth McNutt
NOTES — Opus 7a—piccolo, & 7b—sopranino, are different works. They share the same sound-world, but each develops according to its own trajectory.
While writing Opus 7, I was mainly concerned with the details of melodic invention. Similar to my previous works, I started by fragmenting musical time in several distinct speeds and behaviors. My interest resided in the flexibility of coalescing these various temporal strands into a synergetic whole.
According to J.T.Fraser, time as we humans perceive it, is not “a single one-way thrust in which the furnishings of the world partake equally;” Instead, it is the evolutionary result built upon the conflict between “structurally stable integrative temporal levels.” In order to evoke these qualitatively different structures, one thinks of traversing the temporalities that begin with chaos and randomness, move on to physical matter and biological organism, and finally end with the temporality of the human individual and their society. Such structures, when evoked in music, trigger within our human Umwelt (understanding) a vague approximation of other — archetypal and other-worldly — temporalities.