White Noise (Белый шум)
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Modern civilization, placing materialistic and rationalistic paradigms in charge of its existence, pushes the sphere of irrational intuitive feeling further and further towards the periphery. There is less and less room in people's lives for religion, philosophy and arts, but meanwhile, intuitive headwaters of consciousness have disappeared nowhere and, refusing to educate them, the mankind risks to face once the situation when it loses control over the most ancient and deepest side of its nature. White noise, like any interference, is a side and unavoidable phenomenon of the technological world. Its existence testifies that any predetermined factor in the world is opposed by a chance factor, and that means that mastering randomness is necessary to the same extent as mastering the laws of predetermination.
In the early twentieth century, Henri Bergson made a revolution in the sphere of philosophical understanding of time. He opposed live continuous duration to the then on top Newtonian concept of uniform discrete time. The philosopher asserted that time is not a spatial reference system of abstract units but a continuous process of formation of consciousness, the intensity of which is constantly changing depending on the perception quality. Each person lives through the same event with his own sense of temporality. This phenomenon is represented in the White Noise composition. Each musician interprets his own material independently of the rest of the ensemble. Accelerations, decelerations, and agogics are not plagued by the discrete metric grid. The whole of these differences and deviations is the true time.
Clarinet
Violin
Cello
Moscow Contemporary Music Ensemble (MCME) at the All-Russian Competition of Young Composers organized by the Orpheus radio.
Pages - 24
John Aylward
Javier-María López Rodríguez
Alexander Wagendristel
