Programe Notes
The piece explores the tension between timbre and structure as the music moves through different planes or states defined by register, density, and noise content, from which form emerges through their transformation. It unfolds across multiple time scales: short, gestural figures in freer time inhabit a rapid micro-time, while slowly evolving spectral fields unfold in parallel as a macro- time. Over the course of the work, these layers increasingly overlap and interfere, forming a counterpoint between two planes; one governed by the harmonic series, and one shaped by instrumental variation and human imprecision, where instability and beating become a characteristic feature of the sound.

The work draws on ideas from Wassily Kandinsky’s ‘Point and Line to Plane’, particularly his notion of ‘inner sound’ and the correspondence between colour, vibration, and timbre. These associations are not treated prescriptively; instead, colour & ­sound relationships remain fluid and mutable, shifting and destabilising over time.

A visual reference to Kandinsky’s Composition VII (1913) appears in the Appendix of the score. The painting was present throughout the composition process and became for me, in a quiet but persistent way, part of the work’s visual and conceptual imagination.