It remains of utmost importance not to submit to the empirical opinion of post-modern conservative classicism in the aural-temporal medium of sound. Therefore, I shall not refer to the following as “program notes” as such would lead astray the mind to more conservative ideals. Rather, with these artistic muses expressed in the neo-written fashion, I aim at defining a peak objective with which my aural interdisciplinary landscaping may provide a resolution to the anxious sound capturing systems (ears) of radical tonalists. It’s an a priori truth that the lack in performance mediums for the viola was not without purpose. Yet my goal is concerned not with the arrogant classicism found in the capitalist based structure of harmonic gestures centered on the tonic and dominant vertical sonorities (or tonality, as some pre-contemporaries would call it) but instead with the anti-structural archaic fashion of numerical expression within hyperbolic introversion. Which is why I decided to feature the viola heavily in this piece.
One might say this is a “piece” written for “string quartet” with added “percussion”, yet I’d prefer to think of it as a philosophical practice in aural sectarianism and contemporary cyclical post-numeral enhancements. The sound scape begins with a series of modular post-rhythmic anomalies which superimpose each other in a manner which can only be determined by the use of intermediately aggressive numerical processes. Each rhythmic block contains something I would like to call and anti-block which mirrors its own actions and thus doubles the outcome. As the aural movement of the work continues, one can hear a clear structure in the metronomic pendulum of the division of form.
This piece is, without a doubt, one which follows the anti-post-modern abnormality of the mortal composers of early history (even going as far back as Messaien) and it’s not divided by form but instead through a numerical pyramid of increasing and decreasing frequency and pitch, with clear divisions of moments determined by the sounds of aural attacks.
The process continues until the peak of the piece, in which I invent a convention I would like to call suspenseful post-quintal-a posteriori- instrumental and asexual divisions according to the division of sound with dramatic increase in frequenticity leading to a climactic quantal tension of note movement. Some might call this a chord progression, but again, my goal is to free the audience from the constraints of illuminati controlled tonal pessimism.
The work proceeds to end with an interpretation of the ontological proof that God exists. One may find that the ending, much like your life itself, is nothing but a series of meaningless events trapped in a cycle of neo-post-cyclicism.