Spontane Verformung(2019) 

for vocal octet

5 min

Composition for Wien Modern (Vokal Miniatur).

First performance by Company of Music Vokal ensemble, at Kunsthistorische Museum Vienna, Austria, 23.Nov.2019

“Deformation encompasses a multifaceted process. It involves the alteration of timbre, the modification of overall tuning, and the distortion of individual part tuning. On the other hand, ‘spontane’ conveys a sensory meaning projected by me. In essence, it signifies that all parts are either helpless or inevitably compelled. This unfolds following the chord with G as the bass note (or G 13 chord). It’s akin to possessing the power to unintentionally deform us, ultimately leading us to an origin. However, this origin could be death, a painful solution. What if this isn’t the ultimate resolution? In that case, it becomes an even more unfathomable and bewildering darkness.

These three sets of processes, concerning time, space, and entities, are confined to their respective sounds. Similarly, the moods associated with each are restricted by their pre-deformation destiny (or the direction they take prior to deformation). Schopenhauer’s writings instill in me a sense of belonging and peace, even if they don’t offer a definitive solution. They are, at the very least, less acerbic and hypocritical.

Wagner’s collage, on the other hand, embodies a true force for me, originating from an external source that doesn’t fall under the deformation process. This authentic force, however, embodies panic and nausea. Since screaming also represents a quest for a solution, and both the inner and outer worlds are in pursuit of resolutions, this torment appears to extend towards infinity. Nonetheless, death can never provide liberation.”