Kodam Gobar (2011)

The score provides an alternative sign system, involving flexible intervals instead of fixed pitches; ie. the performers each have to shape their own melodic progression, resulting in an aleatoric harmonic  structure; while other parameters, like duration, sucession of events, dynamics, timbre, and even intonation are fixed.

As for the listening experience it propably makes no difference. The listener must not be informed, of how the music comes about; not even if it is composed or improvised. Anyway for myself it only felt natural to write in this way, since I had no idea of a melodic or harmonic progression, other than an allover structure whithin which certain interval-classes were supposed to alternate in a more or less arbitrary way. 

By contrast the rhythmical phrasing follows the lyrics, by Iranian poet Fereydoon Moshiri. Since I have no knowledge of the iranian language (Farsi), I applied the poetry as mere sonic material, in actual ignorance of her linguistic content. However music is generally an affectionate medium; for those who may understand the language, the musical content certainly will, in one way or the other, associate with the linguistic one.

The piece was awarded first price in composition contest ‘Fereydoon Moshiri’, and was premiered in 2011 at Klangwerktage Hamburg, by ‘work in progress – Berlin’.