When V was played at the rehearsal, we realized that it felt unnatural to keep on improvising many sound activities while the volume diminished, and then to improvise few activities while the volume was supposed to crescendo. Here, finding some sense of meaning in our co-creating improvisations proved to be quite a challenge.
So instead of aiming an individual-oriented focus on how one instrument could interpret the graphics, our reflections led to regarding all the sounds of the instruments as a whole – as a mass of activities – that could be loud as well as quiet, and could contain many or few activities.
With this approach, creating V’s sonically recognizable dynamic suddenly became more meaningful to us. And I discovered a new way of co-creating with the musicians: by reflecting on our improvisations, we developed our musical expression.
In the composition of VOW, I continued to explore my ideas of sonic recognizability and co-creation, but now I was doing so on the basis of a newly gained recognition.