Spatial Intersections

01. Cassandra s Dreamsong (Brian Ferneyhough) 9:44
02. Capriccio Meccanico (Ališer Sijarić) 6:45
03. Deductio (Ališer Sijarić) 5:06
04. Drei Farben (Ališer Sijarić) 3:51
05. Sequenza VIII (Luciano Berio) 14:36
06. DOrMIrNO (Daria Andovska) 6:33
07. Schwebungen (Felix Baumann) 7:48
08. Esprit rude/Esprit doux I (Elliot Carter) 4:55

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Sonemus Ensemble:
Julija Gubaidullina – piano (on 2, 4, 6)
Boris Previšić – flute (on 1, 4, 6, 8)
Violeta Smailović-Huart – violin (on 2, 5, 6)
Vedran Tuce – clarinet in B (on 6, 8)

Guests:
Ernesto Molinari – clarinet in A (on 3)
Martina Schucan – cello (on 4, 7)

SPATIAL INTERSECTIONS
Plurality of spaces and their interplay could be interpreted in different ways:
a) predefined with its sound, esthetic individuality, and instruments, each of the compositions on this CD has been recorded in different acoustical environment;
b) in terms of art, all pieces on this album represent individual oeuvre, which create a net of mutual relations, showing similarities and differences within the same context;
c) the selection of composers involves several generations with different geographical (as well as cultural) background, that way collocating time and spatial dimensions. The listener is enabled to travel trough these virtual spaces and explore their individual relations and meanings, just like walking through the interior of a diamond and every time discovering a new facet.

Cassandra s Dreamsong for flute solo (1970) pushes the limits of this melodic instrument, simultaneously producing musical information of high density through the layers of musical articulation. Highly intricate structural layers resemble the somnambulous visions of the tragic Priam’s daughter, who was given the gift of prophecy but at the same time, deprived her prophecies of the power to persuade. Untold time becomes the space itself.

Capriccio Meccanico for violin and piano (2000) is based on one melodic-rhythmic phrase, during which the formal principle of composition continuously repeats the same path while different aural and structural effects have been achieved through filtering of the original phrase. Therefore the composition reveals in front of the listener like a traditional Japanese folded painting, in which the entirety appears at the end.

Deductio for clarinet solo (1998) is inspired by the allegory of the Cave from Plato’s Politeia, according to which the real world is only a shadow of the artificial fire in the cave against the sunlight outside, in the World of Ideas. The play of shadows was transferred into the rhythmic structure of this composition: without the synchronizing musical meter, the rhythm pulsations oscillate like the shadows on the wall in the cave illuminated by flame. Just like in the allegory, the compositional process is like a traveling from the world of shadows towards the light of Eidos, whilst its shady pulsations of rhythm convert into the shining garlands of sounds at the end of composition.

Drei Farben for flute, cello, and piano (1999) is the play in which the mutual proportions of the 16-overtone sequence translated into the rhythmic divisions, are creating the sonorous kaleidoscope of the unusual density and expressiveness. Requesting an extraordinary coordination between instrumentalists, in Drei Farben the ensemble transforms in to a unique music body.

Sequenza VIII for violin solo (1976) is one of the compositions that Lucio Berio wrote for the solo instruments between 1958 and 1981. Developed as instrumental studies, sequences greatly augmented the traditional approach to the instruments and set the new standards for their intellectual, technical, and emotional understanding. Based on an interplay between two tones (A and B), which fades through the entire composition, like an ostinato in J. S. Bach’s Chaconne in d-minor, Sequenza VIII discovers a whole new world of latent, hidden polyphony, blending together “violin techniques of the past, present and future”.

DOrMIrNO for flute, clarinet, and piano (2004) is dedicated to SONEMUS Ensemble and based on stringing up logarithmic numbers causing domino effect where each logarithm is joined by one tone. With its almost ascetically reduced music material, creates aural worlds, which resembles a gentle, dreamy landscape. Instrumental timbres transcend from one to another, and, like a gentle lace, mark the edge of the silence.

Schwebungen for cello solo (2001), conceived in concentric circles, this solo piece for Martina Schucan reflects being out of tune and in tune, tense and relaxed. Minimal interference with the tempered tuning yields a continuous interplay of tension and relaxation, which, as outward movement and volume decrease, is gradually engulfed by a larger process. At the end, only an imitation of the original changeableness remains, but now removed to a more enduring, intensified dimension.

Schwebungen za cello (2001) conceived in concentric circles, this solo piece for Martina Schucan reflects being out of tune and in tune, tense and relaxed. Minimal interference with the tempered tuning yields a continuous interplay of tension and relaxation, which, as outward movement and volume decrease, is gradually engulfed by a larger process. At the end, only an imitation of the original changeableness remains, but now removed to a more enduring, intensified dimension.

Esprit Rude/Esprit Doux I (1985), composed for the sixtieth birthday of Pierre Boulez. The title of this piece is actually the wordplay, which in French expresses two opposite characters at the same time, while ironically states the musical comment for the one that the title is being dedicated to. Through the use of instruments, complexity of the rhythm, and metric modulations, Esprit Rude/Esprit Doux in refined way reflects the interplay between two opposite principles.

Printed and manufactured at Sony DADC, Austria
A Gramofon production