Loses

For me, the instruments and their sonic possibilities (i.e., the musical material in and of itself) exhibit the closest possible connection to the compositional process. Such instrument-specific sonorities always represent starting points for my pieces. The working-out and determination of the chronological ordering of sonic states leads by extension to the composition and its form in that the various constellations of sounds are given the opportunity to develop, unfold and reflect upon themselves.My orchestral piece “Loses” (meaning “detached” or “loose elements”) also includes such sound-related situations which – subjected to various processes – in part reach into and stand next to one another, make themselves semi-independent or undergo transformations into other states. Above and beyond all this, “Loses” puts the sonic constellations through various processes where (in part) contradictory forces prevail, which is to say: in processes which are aimed clearly in a certain direction, there also exists opposing motion –in the sense of an antithesis, though strongly weakened – which ultimately effects a certain relativization, a questioning of what has happened, so that it all appears to be bereft of context, without direction, devoid of relationships.

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