Exercises for 3*2 (1973), for violin, clarinet, violoncello and 3 synthesizers.
In the Exercises for 3 in 1972, I was interested in creating complex polyphonic textures through the interaction of many monophonic layers. Each of these layers were to be a meaningfull composition in itself, that is to say, performable on its own.
The most complex form of these compositions, Exercises for 3*2, consists of three layers:
1. Violin and synthesizer
2. Clarinet and synthesizer
3. Violoncello and synthesizer
The instrumental part in Excercises consists of a series of isolated events. The performer should improvisingly move from one to the next, creating thus a continuous musical flow.
The sound of the instrument is to be processed by another musician by means of a synthesizer and according to a precise score; the results are played back over loudspeakers in the hall.
"The creative individual (in wrestling with his medium) is supposed to experience a joy which balances, if it does not overweight, the pain and anguish which accompany the struggle to exppress himself."
(H. Miller "Sexus")