line, step, phrasefor accordion and string trio (2005, ~40')
PP: Commision of Minoriten Cultural Center
Karin Küstner, accordion
Trio EIS (Ivana Pristasova, violin; Petra Ackermann, viola; Roland Schueler, cello)
Graz, Minoritensaal, 2006-11-29
What remains if one drops the element of motivic connection in tonal music and breaks up well-known harmonic sequences? Phrases and simple rhythmic models within a mode of nine tones, which raises an impression of quasi-tonality as a side effect, are the characteristics of the computer algorithms used here. Several formal parts grew out of experimentally determined parameters of variations of these algorithms.
There is no motive at all – formal parts are tied together by the aforementioned harmonic aspect and principles of algorithmic control. It consists of a fugato of entry probabilities in two layers (mostly accordion versus strings) that generates the perception of phrases and a direction process determined by sine curves and random walks. The actual parts result from search algorithms concerning the general principles and some constraints on repetitions, primes, and octaves. Permutations and random generators control the few playing techniques and dynamics – these controller types are selected by hand in each part. The emphasis of homophony/polyphony and staccato/legato determines longer developments.