The sound of a piano is a curious phenomenon.
On the one hand there is beautiful sound for creating music, on the other hand there is a constant layer of percussive, mechanical sounds in the background - hence the title: The Mechanics of Creation.
For me this juxtaposition is like a paradox and in this composition I wanted to make the paradox audible.
Mechanical sounds are an inevitable by-product in piano playing as a consequence of how the instrument is built. The listener is usually not aware of them because he is focused on the music, in which the piano sound is regarded as a "living" element and the mechanic as a "dead" component that needs to be filtered out. Nevertheless they are always there.
This piece wants to give these mechanical background noices their own place and use them as independent and creative elements.
The piece starts off with sounds that are always present in normal piano playing but now are stripped from the normal piano tone. By nature these sounds are extremely soft and the listener is challenged to listen carefully to become aware of them. At first the piece seems to have started only visually but gradually the percussive sounds become more clear. At one point they even become loud enough to make the strings resonate and pitches appear.
From then on the piece developes itself: pitches become chords, repeated notes evolve into "guirlandes" of fast notes, low pitched notes start imitating percussive notes etc. The proces of composition has been set into motion to create a piece of music. A paradox again in which seemingly opposites like procedures and inspiration
must unite in the act of composing: The Mechanics of Creation.
The piece was premiered on 14 November 2004 by the composer.