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he piece is built on the concept of a solid silence and is therefore preferred to be performed in front of a live au-
dience. With this concept, the silence and the starting point of any sound; the silence is treated as a solid physical
element. To produce sound within a solid silence, one must use a certain amount of physical energy to make this
solid silence resonate. The score focuses therefore on a combination of gestures, actions that are both symbols
of sounds and sometimes only symbols of action.
The actions and gestures that the performer is required to perform are never to be simulated or pretended -
everything that transpires on the stage must be real, indifferent of the sonic result or lack of it. The score often
provokes the performer to produce sounds, instead of instructing the performer to produce a certain sounding
result.
A purity in sound is almost impossible to achieve within this solid silence, luckily it is not the aim of the piece either.
When the piece has reached a musical maturity, the wanted result is to create tangible tension in the sound, the
physical gestures and silence. All this so to create a space where a total focus on sound might be possible.
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Ruud Roelofsen
Michael Edgerton
Michael Edward Edgerton
