Monochrome after Frey
For Flute, Piano and Percussion (Vib, Wd-blks, Cymb, T-tam)
This piece was inspired by Jurg Frey's Streichquartett 2 alongside Frey's ideas on music, art and silence.
Frey was heavily influenced by, the artist Giorgio Morandi, a still life painter, whose work focused on tone, colour, and compositional balance (he is often listed as an important forerunner to minimalism), the philosopher Martin Heidegger, whose ideas about silence and the different forms it can take inform a lot of Frey's practice, and most importantly, John Cage.
This piece takes Frey's idea of 'da-sein' silence and his thoughts on monochrome through Morandi's work and utilises them to create a piece that focusses almost exclusively on the evolution of timbre. By using repetition and cyclical functions I attempt to take the listener into a place where they start to ignore the repetitive parametres of the music - the pitch and the rhythm specifically - and then focus on the interesting developments in the parametres of timbre and texture.
The piece starts off with unpitched, disparate sounds which gradually cohere to form a unison line that cycles around and around, endlessly limping from one compound metre to the next, without any predictable resolution or rest.