Flute, Clarinet, Bassoon, Horn, Trombone, Piano, Percussion, Violin, Violoncello, Double Bass, Electronics and Objects



The person who is moving by a labyrinth in a search of an exit can not know: whether his way goes by the only non-intersecting line or his chosen trajectory consists of unlimited interconnecting passages and reiterations of the same route sections. The listener who perceives SOMETHING right here and right now finds himself in a similar situation: he is sliding by the One musical Time trajectory, passing by so called acoustic labyrinth that was cherished by composer. I was inspired by the idea of moving through a labyrinth as a peculiar metaphor: the primary direct course of a motion later on is getting mixed up and broken, subsequently a musical material content as though moving in different trajectories all the time gets stumbled on already passed sections of a road.

A necessity for synchronization of material with conductor assistance is breaking away little by little — so the idea of a self-organizing system in my composition starts operating. The musical tissue has been organized by a chain reaction principle, a certain sound element that was performed by one musician becomes a trigger for turning on a following element at other musician an so on, ect. It can be presented as conditional operator “if—then”, that has been used in various programming languages, providing an implementation of certain command but only under condition of the validity of some logic expression. Acoustical and motor reflexes of a performer and other collateral factors will define operational speed of a whole system.


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