Márton Illés (*1975) Ez-tér
[orch] 2014/17 Duration: 19'
4(picc.3A-fl.B-fl).3.4(2Eb-clar.2B-clar).2sax(2S-sax.2T-sax).3. - 184.108.40.206. - timp.perc(3) - 2hp - pno.acc - str: 220.127.116.11.8.
World première: Donaueschingen, October 22, 2017
A central element in these four pieces, which are otherwise largely of autonomous characters, is – as in many of my works in general – the line. Line in the archetypal sense, which tries to free itself, by any means, from all those qualities of a melody considered valid within our historically-formed consciousness, that prevent it from unfolding freely within a primordial sound-space.
Melody, in the horizontal dimension a sequence of individual notes that remain on constant frequencies for a shorter or longer time, divided into steps and grids thanks to the most varied historical conventions, where vertical interaction always and inevitably generates harmony, can only partly and crudely do justice to the demand for the notional line as the carrier of a deeply-rooted, psychophysical primal gesturality.
Through differently shaded, concentrated, vibrating, shimmering, oscillating primal gestures, primal sounds, these pieces allow us to experience and process the most subtle psychophysical feelings; they create a primordial sound-space and keep this large orchestral apparatus in a constant motion that is dynamic and flexible, working with very contrasting haptic perspectives and opening up an unfiltered view of an intimate, primally substantial, human life of drives - the “Es-Raum,” the space of the id.
Movement II is part (movement II) of the 2014 composed orchestral piece “Tört-szin-tér”.
(Márton Illés, 2017)