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ANGIN (1988, revised 1997)

for brass-and woodwind orchestra and 3 percussionists

The basic idea of ANGIN was already four years old before the actual compositorical process started . It was in 1984 that I had the (somewhat utopian) imagination of a "resonant and drone-like sound environment that, beside its "physiological" component, is connected with "river-like" sound-streams (the first central chord and the chord series of the central fff- section goes back to these beginnings).


At that time, it was clearly obvious to me that such a simple idea is not enough to become a whole independent composition. On the other hand, I was already concerned of various precise compositorical processes, which in a not yet clear way included physiological aspects of the players as structural devices, like for example their breath. Out of various reasons it lasted almost four years until I was able to realise this idea in form of this work.


In most of my recent works, colotomic principles (formal separation, or the marking of such sections) started to become a major aspect of concern. It cannot be denied that this is due to my playing and listening experience of Balinese, Javanese and Sundanese music. At least it was obvious for my own work that a static additive juxtaposition of sections (though balanced in itself) can be more convincing and functional with a peculiar overall colotomic organisation. Within that, this colotomic structure starts to become the "real" conductor of the piece.

Therefore, such ideas ask for a special way of rehearsing the music, including a new way of listening to one another, without the interference or participation of the conductor.

The term "Angin" means wind and breath in Indonesian language.


The revision in 1997 made some substantial changes for the centre section in its instrumentation and voicing. Also one bar had been added out of practical reasons.