‘Terracotta’ is the score for the large orchestra (quadruple size). Many unusual percussion instruments are there besides two voices. I characterize it the spatial because it manifests here in two ways. The orchestra has a spatial sound nature always. I imagined it as a gigantic mass of people, a hundred, that saturates energy in one place. A sound and playing energy during their playing can pass through musicians’ groups, then pass further, and so on. The spatial aspect is always present in any orchestra music, because of the instruments’ wide location.The ritual comprehension of the space is a second spatial......
Geometric ideas in notation are the compositional technique with a presentation of the score as a graphic phenomenon. The notes' location in the score depended on the geometrical schemes. It can be drawing on a score and then recognizing it to the musical symbols. There are unobvious moments here. For example: let's draw a diagonal line in the score for the orchestra through all the staves and then translate it into musical symbols, observing the order of the instrument’s appearance.
In this case, we will get not a simple sound movement from edge to edge of the stage but complex trajectories of spatial movements. It works because the instruments’ arrangement in the score one after another does not mean the same order on their stage location. Due to this discrepancy when translating graphics into notation, we will get a more complex result of the sound’s spatial movement. Elementary graphic elements can generate not expected sound results.
It’s possible to find similar ideas in the scores of Sylvano Bussotti, Mauricio Kagel, Friedrich Cerha and others.
Examples in the compositions: