Types of fragments
After creating the sound installation Landscape with figures I through numerous fragments to be played in any order or superposition, I tried to approach writing for voices and ensemble in a similar way, not as a large scale dramaturgy, rather a kaleidoscopic situation where fragments of different types and lengths can be performed in numerous possible orders. I made sets of variations of different ideas, without deciding a definite order until the very end of the process. We will look at characteristics of the various types of fragments.
The complete fragment structure of Landscape with figures II for 5 voices, 17 musicians and electronics follows. The sound installation elements unfold over more limited time spans than in Landscape with figures I. Variations of ideas were composed separately, then spread out like elements of a kaleidoscope, with attempts to find continous contrasts of fragment type and involved ensemble constellations.
If omnidirectional continuity is impossible to represent in time,[1] a multitude of fragments can form windows into aspects of a vocabulary of continuity.
Landscape with figures II [90']
· SOUNDSCAPE
o AA Ensemble Fragment 1
o AB Intermezzi Fragments 1-3
o AC Tutti Fragment 1
o AD String signals 1
o AE Whispering room 9
· SOUND INSTALLATION: Landscape with figures
· AF Intermezzi Fragment 4 (within sound installation)
o AG String Signals 8
o AH Intermezzi Variation 6 Repeated later!
o AI Vocal Gliss 1
o AJ Ensemble text 1 Repeated later!
o AK Tutti Fragment 2
o AL Antiphonal Duos 1
o AM Whispering room 1
o AN Antiphonal Groups 1
o AO Intermezzi Fragment 11
o AP Intermezzi Fragment 7
· SOUND INSTALLATION: Landscape with figures
· AQ Intermezzi Fragment 15 (within sound instalation)
o AR Tutti Fragment 5
o AS Vocal Gliss 3
o AT Tutti Fragment 3
o AU Intermezzi Fragment 5 Repeated later!
o AV Intermezzi Fragment 14 Repeated later!
o AW String signals 9
o AX Intermezzi Variation 1
o AY Whispering room 6
o AZ Antiphonal Chamber Music 7
o BA Intermezzi Variation 5 Repeated later!
o BB Antiphonal Chamber Music 1
o BC Noise Circles 1
· SOUND INSTALLATION: Landscape with figures (overlap with next)
o BD String signals 6 (within sound installation)
o BE Intermezzi Fragment 6
o BF Tutti Fragment 7
o BG Intermezzi Variation 9
o BH String signals 5
o AV Intermezzi Fragment 14
o BI Ensemble text 2
o BJ Intermezzi Fragment 9
o BK Intermezzi Fragment 10
o BL Antiphonal Chamber Music 2
o BM Intermezzi Fragment 12
o BN String signals 2
o BO Vocal gliss 2
o BP Whispering room 4
o BQ Antiphonal Chamber Music 4
o BR Intermezzi Variation 7
· SOUND INSTALLATION: Landscape with figures
· BS String signals 7 (within sound installation)
o BU Intermezzi Variation 8
· SOUND INSTALLATION: Landscape with figures
· BV Intermezzi Fragment 8 (within sound installation)
o BW Whispering room 8
o BX Antiphonal Chamber Music 3
· SOUND INSTALLATION: Landscape with figures (overlap with previous and next)
o BY Tutti Fragment 4
o BZ Antiphonal groups 3
o CA Intermezzi Variation 4
o CB Whispering room 3
o CC Noise Circles 2
o CD Vocal Gliss 4
o CE Intermezzi Variation 15
o CF Antiphonal groups 5
o BA Intermezzi Variation 5
· SOUND INSTALLATION: Landscape with figures
o AJ Ensemble text 1
o CG String signals 10
o CH Tutti Fragment 6
o AU Intermezzi Fragment 5
o CI Intermezzi Variation 2
o CJ Intermezzi Variation 3 (attacca from previous)
o CK Ensemble Fragment 2
o CL Antiphonal groups 2
o CM Intermezzi Variation 14
· SOUND INSTALLATION: Landscape with figures (alarm and bass sounds more frequent)
· CO Intermezzi Fragment 13 (within sound installation)
o CP Tutti Fragment 8
o CQ Antiphonal duo 2
o CR Antiphonal Chamber Music 5
o CS Intermezzi Variation 11
o CT Intermezzi Variation 12
o CU Intermezzi Variation 13
o CV String signals 4
· SOUNDSCAPE
· CW Intermezzi Variation 10 (within soundscape)
· SOUND INSTALLATION: Landscape with figures
· AH Intermezzi Variation 6 (within sound installation)
o AV Intermezzi Fragment 14
o CY Antiphonal Chamber Music 6
· SOUNDSCAPE (soft industrial track, overlap with next)
o CZ String signals 3 (within soundscape)
o DA Whispering room 7
o DB Intermezzi Variation 16
o DC Antiphonal Groups 4
· SOUND INSTALLATION: Landscape with figures
o DD Intermezzi Fragment 16 (within sound installation)
o DE Noise Circles 3
· SOUNDSCAPE
[1] "alles soll sich aus allem kontinuierlich entwickeln. (...) allseitige kontinuität. die läßt sich aber in der zeit nicht darstellen. wenn du dir vorstellst, daß alle dimensionen zum beispiel des musikalischen sich gleichzeitig in alle richtungen verändern, dann ist schon bei dem parameter, der selber multidimensional ist, bei der klangfarbe, deren
haupteindruck nach dem einschwingvorgang durch die zusammensetzung der lautstärkeverhältnisse der teiltonreihe entsteht, nicht kontinuierlich aus einer linear eine reihe von anderen zu entwickeln, ohne daß man mindestens kurven macht oder in die gegenrichtung geht: es geht also um das problem der multidimensionalen skalierung..." Mathias Spahlinger, "alles aus allem entwickeln", p. 23.
