for violin, contrabass clarinet, piano, percussion and tape (in 3 versions: 7-channel, 4-channel or stereo, with click track)
The basic assumption of the theory of relativity is that “we cannot speak of physical properties like speed or acceleration without defining a frame of reference,” because “all motion is de ned and measured with regard to other specified frames of reference.” At least this is what Wikipedia says, which may or may not be true. Faithfulness to the facts does not really matter, however, in a world of posttruth, in which everyone has the right not just to their own opinion but also to their own facts drawing on emotions and personal convictions. is, too, is relative, as there are no facts, only interpretations. Even if there were facts, everyone has the right to present alternative facts and stick to them. We don’t have what we owe you and so what?
The piece deals with relativity, both that of conviction and that of sound perception. It features hearing paradoxes explored by Diana Deutsch (Speech to Song Illusion, Phantom Words, Scale Illusion), the phenomenon of sonic pareidolia (the impression of hearing familiar sounds, especially voices, among various noises), as well as perception-disturbing electronic sounds. The electronic layer also comprises voices of public figures pronouncing untruths. rough multiple repetitions their lies (or perhaps narratives?) begin to create a new sonic reality (illusion?), turning into musical phrases, in line with the principle whereby the human mind is more likely to absorb familiar stimuli and messages. Concert amplification, instead of ensuring uniform reception of music throughout the room (as is its usual purpose), is used to vary the sound image depending on the point of hearing. Since, as we know, perception of music is so strongly dependent on nonmusical factors (visual, psychological, acoustic, or even liner notes), let us give any semblance of objectivism a miss.
The work was composed for the Kwartludium ensemble.