for orchestra<\/p>\n
My two-month summer stay in Taipei as composer-in-residence with the National Symphony Orchestra Taiwan felt like watching a film in widescreen format. Day and night temperatures of 35 degrees Celsius and 95% humidity transported me into a living Cinemascope experience. Because I enjoyed every second, a minimum of sleep intensified the already intense experience. I composed three or four hours a day and tried to filter everything: the heat, the humidity, the tempo. What my mind and soul absorbed should not linger there, but be immediately translated into sound. As a result, Taipei Horizon has become surprisingly tonal, probably because I constantly tried to give the endless impressions a clear form, which led to themes and motifs that were as fugal as they were layered, sometimes literally colliding with each other.<\/p>\n","protected":false},"excerpt":{"rendered":"
for orchestra My two-month summer stay in Taipei as composer-in-residence with the National Symphony Orchestra Taiwan felt like watching a film in widescreen format. Day and night temperatures of 35 degrees Celsius and 95% humidity transported me into a living Cinemascope experience. Because I enjoyed every second, a minimum of sleep intensified the already intense … <\/p>\n