Vienna

„Symphony“ – sound-competition...
How does he sound, such a composer in the time from 1969 to 2007, that means between his 27th and 67th birthday ? May be he has developed something like personal aesthetics. He (You?) will recognize it in particular 40 years later: In the first time does not (not yet) existe this technic of „over-painting“,
with a view to hide differences, but there is (almost
by chance) a kind of simultaneity, revealing stylistic coherencies.
And what will he become?...
Six chapters of an acousmatic biography !

I.) „Sonata“ – how the world sounds... 
On the passage from Paris to Vienna, in the hermitage of electronic studios, at the turning point from student to teacher, from single to husband: savage times! Take-off run, outbreak, all or nothing (like cluster and C-major) and behind the mountains of revolution: beautifull valleys...
The bare titles of the original works – before being symphonisized – already show it: „Included energies“, „Prisons“, „Chute“, „Ah! the nature“, „Studies for scissors“, „Viennese barrel-organ“, „Waiting for music“, „Chanson“. The cry of solitude has become a love-song: furious times, full of decisions!

II.) „Adagio“ – on the way to inner voice...
prayers, crows, family, school, mixed works: „Flute-magic“, „Concertomobil“, „Pathetic autumne“, „Mirror voice“, - speaking voice, singing voice, thinking voice, silent voice...
„woe is med“ – leafs are falling“, „...speechless and cold“, „...not hear, not see“, „alas, speak gentle!“.

III.) „Scherzo“ – to-hu-wa-bo-hu!
„Konkrezia“,– sound of clay - „Portrait of a lady in the mirror“ – image and reproduction, formation – deformation. Charity, agression and agitation – caress and fight: Joke, satire, irony and deeper meaning. How environement becomes a native place (folk songs) and how native sounds (organ) become sinistre: white sundays organ – white sundays ox.
„On unity“, „Heaven and earth“, „Day, night, morning“, portraits of Gunda, Ulrich, Elisabeth (succeeded or not ?), „Declaration“.

IV.) „Sarabande“ and „Tango“ – by night and at noon...
stressed slowness – slow motion speeded up. Lullaby and Marseillaise, paradise and revolution, the big game...
„... sand – go on! – boats – beauty“,
„...happiness – sorrow, stood – spoke – laughed“,
four pieces in the middle of life:
„Journey to paradise“, „(Day) – night – (morning)“,
The permanente guillotine“, Grand Jeu“. How said the captain in Wozzek: „I think we just have something from South-North“ ?

V.) „Quodlibet“ – tragic strip – spectre-sonata
fighting cultures – intercultural dialogue:
Paganini in Cairo, Wittgenstein meets Jean-Féry Rebel Debussy drown in Marseille,
Human Rights and Middle Age,
Tangolzer – Walzango,
haunting in „Paganihilismo“, „Paganini in Cairo“, „Dialog with Wittgenstein“, „O Santa Acousmatica:
La Mer“, „Mondieu – Mondial“, „Tangolzer – Walzango“.
Is it a picture or is it its reproduction, original or falsification? is it raw, is it cooked, Yes or No?

VI.) „Finale“ – scordatura – nuova consonanza...
„Adieu“ with Mozart, Bach, Vivaldi -
catastrophe, death or only sleep ?
When engines begin to sing,
the twittering-machine grows silent:
„Obsession“, „Adagio autumn 01“, „Air“
and „Lullaby for Piccoletto“.