...selig ist... (2024)
(for piano and electronics)

lt is a music of the disappearance. lt is the revelation of the most fragile, unstable compositional between-time-spaces and their idiomatic, sonic, phenomenological, spatial and temporally correlating signatures.

These were investigated using sonograms (Fast Fourier Transformation) of the most fragile sonic phenomena (including decays) that had previously been recorded. In this way, all compositional signa­tures of the piano part were revealed, developed, derived, analyzed and typologized. On the one hand, this exposes the extreme structural instabil­ity of these compositional between-time-spaces, between correlating results and artifacts (the sono­grams); on the other hand, the setup of the electronics and the files of those new, most unstable, most fragile signatures of the recorded score frag­ments were combined with concrete sound signa­tures of recordings from the Berlin Charité, from the Tränenpalast at the former border crossing Bahnhof Friedrichstraße, trom the Freiburg Cathedral Boys' Choir and the river Dreisam flowing through Freiburg. This results in a fully composed, de-concretized, neither-illustrative-nor-allegorical typology of sound traces of extreme existential, perhaps metaphysical, phenomenological, organizational, spectral, mark-making, ephemeral compositional instability. lt reveals a finely composed music of leaving and decay – of disappearance. 

The composition often involves interpolations of phenomenological micro-intervals and micro-sound colours. Ultimate de/re-territorializing, de/re-idiomatizing, de/ re-concretizing compositional correlations unfold. These phenomena, thus uncov­ered from deep within, form the music in their disappearance, the music of disappearance. 

Disappearance is one of the most central themes of the Gospel message. It appears in the pericopes of the Passion, for example at the Last Supper in Emmaus or at the Ascension of Christ. 

The passage from the Gospel of Matthew quoted at the end of the score ("Blessed are those who mourn, for they shall be comforted"; Mt. 5:4) unfolds itself, in its com­positional approach, in the sense of a music of remembrance for a deceased child.