lauschgut

“Lauschgut” (2018/19) follows the idea of freeing the piano from its chordal tradition. Instead, the single note is fringed so far inwards that pitch and noise can meet in “fanned-out unanimity”. The piece consists of five short fragments reduced to very little material. They are further dispersed by extensive silences between the movements: what is once said stands irretrievably in space. In the risk of the emergence of sound as well as the interrupted form, what is heard is also “eavesdropped” by the listener. (Charlotte Seither)