Seven Different Ways of Getting Lost (2009)
for ensemble (cl, b.cl, hrn, 2perc, vl, vla, vcl, db)
Seven Different Ways of Getting Lost, a chamber music piece composed for the ASKO ensemble, was an early attempt to explicitly introduce flexibility of performance into a written score, through various techniques. I was trying to balance between these two ingredients: on one side the traditionally written musical material (as in notes, rhythm, bars and so on), and on the other side instructed guidance towards improvisation (providing the players with the possibility to choose between several musical alternatives; providing them with incomplete or very basic information which calls for intervention, or with material which consists some flexibility- all of these choices are to be done in musical ‘real time’). Several phases of the combination between the two elements are introduced, while the compositional process is making its journey: slowly stripping from being completely “fixed” and notated, until reaching the final resolution in the form of “free” improvisation. This process was meant to function as more than just a compositional working method, but rather to be perceived as such by the listeners.