world première Munich (musica viva-konzerte), October 6, 2000

To say the truth, I’ve got sick of the contemporary music already. And so I attempted to solve an vexed question reminding a fairy-tail-riddle: How to stay composer and continue writing music but produce anything else than contemporary or new music?

Remix
In the beginning I had a lot of fun with such a concept: Let me recycle music, there is too much music attacking us all around in this world, anyway. Let me take the final secco-chords of the most beloved orchestra masterpieces, make a chain of them in a very fast speed and then make various loops of the chain, repeated many times. Let me arrange that way a meeting of my favourite masters, especially those who never could meet each other, e. g. Mozart - Berlioz - Mahler. Pairs of cymbals and bass drums would make a "19 century disco” background to it.

Redream
But later with a concrete material in hands I got far and far off the original concept. Another chords than the final ones and another tempi as well as another combinations emerged to be interesting. The work got amazing in the moment when the historical material began to loose its identity.

Reflight
Later the museum smell of the classics chords started to stiffle me and I had to run out quickly to breathe in a fresh air (of imagination).

P.S.:
Compositional technics - inspirations

Repitions - DJ music
extremely fast tempi - Laurel & Hardy
mictrointervals - authentic folk music of various regions

transparent
simpleminded form - principle version - refrain

(Martin Smolka, 2000)