Bio
Dal Niente (Interieur III) was composed in 1970 at the suggestion of Eduard Brunner, to whom it is also dedicated, and who premiered the work in Nuremberg in the same year.Like my other compositions from this period, Dal niente is also indebted from a technical perspective to the idea of a “musique concrete instrumentale,” in which all of the sounds point away from themselves to a certain extent toward the preconditions of their production, bringing the latter into the structural events as a kind of “corporal” experience. The “instrument” becomes a “device”: a characteristically manipulated filter for the player's breath as controlled by the composition and its interpretation. The independent modification in finger positions, types of attack, and the forms of articulation in air pressure thus become discernible as a multi-level polyphony. Artificial structures of time and elementary perception of sound processes – which are more objects of observation than of the sort of “listening” which is directed at expressivity – condition each other and relocate the expressivity that was ousted from the single gesture to the emphatically concentrated experience of an awareness of their anatomy.