Page 144 - Composing Processes and Artistic Agency

Musicological perspectives on composing 133

as it is “a little scary” because of its open nature, may stem from ideas that
are still rather vague. Nevertheless, intentions are taking shape that will guide
his future course of action without determining it in any strict sense. For
example, the extrinsic components of “LipsEarsAssNoseBoobs (Gloomy
Sunday)”– the history of the impact of the song “Gloomy Sunday”, plastic
surgery, the transformation of a car – can all be associated with the topic of
identity, or rather the change or transformation of identity. The fact that a
song discovered by chance on the Internet, and its many cover versions,
became the musical base for the piece, can also be attributed to this targeted
intention.
The creative crux of Karlheinz Essl’s composing depends on the players
and type of composition: it is quite different for purely electronic pieces than
for those with instrumental participation, which would require the inclusion
of additional performers, and different again for purely instrumental ensemble
pieces. Additionally, Essl’s production ranges from compositions with an
explicit work-character to strongly process-orientated compositions:

For me, the most captivating aspect of composing is the reconciliation of
these opposites, though each time in a different way. In addition to the
works that are conceptualized solely as processes (for example the piece
“In the Cage” [performance, 1987]) there are some that have a purely
work nature (such as the string quartet “Helix 1.0” [for string quartet,
1986]); between them are works with a process character (like “Entsagung”
[for flute, bass clarinet, prepared piano, percussion and four channel
interactive live-electronics, 1991–1993]) and processes with a work character
(“Lexikon-Sonate” [infinite and interactive real time composition for a
computer controlled piano, 1992ff.]).
(Essl 1997: 153)

In the case of “Herbecks Versprechen”, it must be remembered that there was
existing musical material, namely the 28 seconds that Herbeck’s voice takes to
recite his poem. In my opinion, the creative crux of the piece is in the devel-
opment of a specific and unique “electronic instrument” that enables Essl to
implement his aesthetic ideas adequately. A decisive factor for the nature of
this instrument was his intention “not to do a piece with a recording, but a
performative piece played live. And bit by bit, I realised it in my MaxMSP
Environment. And I developed all sorts of things to be able to access all these
individual aspects in real time.” (MaxMSP is the programming language; by
“individual aspects”, Essl means the different parameters of the electronic
sounds.) Programming – working on and with the software – must here be
understood as an integral part of the composing process, and not merely as
an accessory or implementing tool.
These brief insights into the three composers’ creative processes indicate at
least to some extent that ideas – apart from their collective dimension –
always encounter their opposite, which gives the ideas a direction and offers