So nah dran
In the vast majority of cases, a traffic sign is perceived exclusively as an unambiguous sign. After a longer observation, however, for example from the perspective of a walker, one begins to perceive the details of its specific nature: The contours of light mud marks from last winter, the
red paint that has faded somewhat over a long period of time, the tag of Antifa that has already been half-scraped off. They are what distinguish this traffic sign from others and reveal themselves only to the second, the must-full look. It is a gaze that, from a position of freedom, marvels at the phenomenon under consideration and perceives it "as if for the first time" - from a childlike perspective.
The composition "So nah dran", a 4-channel sound installation and performance for violin solo, is about the conflict of both perspectives (in this case, however, related to a first or second hearing). The starting point are samples of a recording of my earlier work for solo violin of the same name, whose musical source material is in turn the Partita in D minor for solo violin by Johann Sebastian Bach (BWV 1004). Altogether, the composition consists of four different time levels that proceed independently of each other and revolve within themselves. The first consists of very fast cuts, while the second uses very similar material extremely slowed down. The third begins again and again with the gigue from the above-mentioned Partita, and the fourth, which is added with the live performance of the violinist, consists of fragments of the work for solo violin on which the installation is based, which in turn are decomposed by pauses.
My concern in this composition was to create a field of tension between the first (analytical) listening, which recognizes the Bach reference and classifies it in music-historical terms, and the second (phenomenological) listening, which, similar to the musseful gaze, focuses entirely on the deviation from the original of the reference, resulting from a deliberately created blurring with regard to the historical unambiguity of what is heard.
Internal Supervisors and External Advisors: Isabel Mundry (ZHdK), Jörn-Peter Hiekel (ZHdK).