Notes

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Am I right, or do you sometimes feel that the other layers become more important for you? J.B.: The things that are most important for me are the perceptual things that happen when you see and hear things, especially when you see and hear things together. When it comes to Matthew’s pieces (especially the Lecture pieces) they are a little bit more earnest. Like Matthew I’m i little bit more earnest. Do you see any parallel between these sorts of compositions and contemporary music pieces such as Johannes Kreidler’s Fremdarbeit, or the Lecture about Listening to Music by Matthew? But these things take a long time to happen. J.B.: Sometimes Także do freeze sound, that’s a technique that I used to use quite a bit, but not necessarily „freezing time”… They are trying uwag to be quite as conservative as they used to be, but still it is a kind of a very light modernism. But I haven’t really gone back there again to that super-meta approach.


J.B.: Fremdarbeit - I love that piece, it really does have layers… I want to show people the world and for them to have an interesting perceptual experience when they hear and see the thing that I have made. I went in and then I saw on the screen that the world was upside down, and that was my first camera obscura experience, and again it was a completely sensory experience, I was overwhelmed by it. And I put the microphones outside, then their output went through a kind of 15 min looping score on the computer. I think we were the first people to play Peter Ablinger, Simon Steen-Andersen, Alexander Schubert and Trond Reinholdtsen in the UK. We didn’t want to play this kind of music. Certainly 15 years ago I had the impression that I had to make instrumental music and that I shouldn’t stray from this path. At that moment I realised that I was going to try to make something with camera obscura.

J.B.: Before I wrote Analogue (2011) I started a project with a friend of mine in 2007 and that’s how we learned to make a theatre-based camera obscura, we did a piece with it. I had one installation and that was a camera obscura installation, but not a theatrical one, but an outside one. But zobacz stopped being the artistic director. Although it loops, the material that’s going in is always changing. If I think of your pieces, I still hear that sound is your prime material. Both are about sound and listening. A.G.: While listening to your Artificial Environments I felt that it is a composition about composing, a sort of a meta-composition. He wants to combine thinking about music and listening to it at the same time. A.G.: I would like to talk a little bit more about those pieces. How did the Ensemble change during those almost 20 years of existence? A.G.: How much time did you need to "visualise" your idea?

Did your work there change during that time? Is it an ironic work or do you feel that contemporary music needs this sort of commentary? So it’s really a perceptual, experiential kind of work. So it’s very site specific and very time specific as well… It’s not quite what I want to express. J.B.: That piece is quite old (it is from 2011). The idea is to take the electronic processing of sound and imagine it as a sort of science fiction universe in which sound would behave in various ways. There are plenty of them in history, when the musical plot corresponds so profoundly with the musical material (from de Machaut’s Ma fin est mon commencement to Grisey’s L'icone paradoxale). 1-5 are a bit different from the other pieces because of this „meta” layer. A.G.: Yours and Mathew’s music is totally different. During the last 17 years it has changed a little bit, although there are some people who have been there since the beginning, the clarinet player Vicky Wright, the piano player Mark Knoop, another piano player Roderick Chadwick and the guitar player Tom Pauwels.


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