For two speakers, two sopranos and orchestra (2(2pic).2(2.ca).2(1.ebcl, 2.bcl).2(2.cbn)/18.104.22.168/2perc/2pf tuned a ¼ tone deeper/22.214.171.124.2.2 with H string)
BING (=Ping) is based on the text bearing the same title by Samuel Beckett (in the translation into German by Elmar Tophoven). It describes a singular situation: a naked human is portrayed standing in a one-yard square white cube. The maelstrom of text consisting of a limited number of sentences which are permutatively combined to form ever new superordinate sentences is irregularly punctuated with two words: 'Bing' (mostly connected with the question of a sense, a picture, another person, a way out etc.) and 'fixed', followed by the word 'elsewhere' which refers to an apparent change of location.
I had in mind a quasi-congealed musical theatre distributed over three levels:
- The main figure, who in his/her/its isolation listens to itself as another, is split into two female singers.
- Two speakers, who classify the 'development' from without rather like a concurrent commentary.
- The chamber orchestra as pure 'environment', like the cube with its white walls, where the elusive 'senseless figure' appears and whose room is filled with 'senseless buzzing'.
My music uses a repertoire of forms (e.g. 'breathing', 'oscillation', 'fleeing', 'fumbling', 'congealing', 'sliding', 'klanging', 'meandering', 'stumbling', 'bumping', 'lightning', 'arpeggio', 'pedal', horizontal lines', 'islands' etc.) whose characters vary in detail and appear in the main as ever changing 'aggregate forms'. A recursive process runs in the background which controls the appearance of these forms in the musical room and exhibits similarities to the hopeless-circling character of the Beckettian text. Despite the 'deep-frozen' basic configuration of BING I believe that primal human themes such as loneliness, love and death nevertheless shine through, a quasi-reflection of 'opera'.
Duration: 60' 00"
Schott Musik International