Pacific Time (2022)
(for ensemble)

In the summer of 2019, before the pandemic, I had a very nice and intense encounter with the ensemble Dal Niente, who performed three of my pieces as part of the De Paul summer course. I was very impressed by their great musicality and sensuality of sound.

That’s why I focused entirely on the sound and left out extra musical things such as samples, video, and performance.

My inspiration is often ignited by noises.

Sound experiences outside of music challenge me to build a stage for them, to develop a sound space out of it. I track down the personality of the sounds and sort of create scenes in which they can unfold.

For example, ‘Pacific Time’ begins with a dense band of noise as if we’re in a fog. Gradually this is exposed differently as if a ray of sun is shining, but we cannot see it.

 I finished Pacific Time at Villa Aurora in Los Angeles, with daily physical contact with the ocean. At the same time, it describes the privileged state of being able to devote oneself entirely to the idea of sound and to finding solutions with instrumentalists in order to bring it to life. I am painfully aware of this privilege in view of the man-made ecological collapse, which is also fogging up and eating away our spiritual and material resources through warlike destruction, which we would have to use with all our might to redirect and repair.