TAPE HORN (2003) for French horn and
- durata 8:35
- written for Petr Cígler and premiered by him in Prague, god
I am fascinated by the expressive power of individual intervals
and the "energy" hidden in them. The horn part is in fact nothing
else than concentrated exploring of the most simple melodic
figures, rather groupings of individual intervals than real
melodies. I think there is a huge potential in this kind of
reduction and concetration.
The electronic part is based on a very simple algorithm: the
sixteen chords have been inferred, with help of chance operations,
from the low cluster of chaotic glissandi (in this way I got rid
of the tempered scale or any other pre-established pitch system)
and they resolve (via glissandi) into an almost imperceptible
major seventh chord sounding permanently two octaves higher.
Only after the piece had been finished, I realized that I created
a kind of very free variation on Charles Ives’ famous The
Unanswered Question. I’d like to believe that there is some
deeper-than-superficial connection between the two pieces.