Horaţiu Rădulescu, "CAPRICORN'S NOSTALGIC CRICKETS"

-- Liner Notes --

CAPRICORN'S NOSTALGIC CRICKETS II opus 16 no 2 (1980) (1. composed 1972 in Grasse/Les Lucioles, 11. composed in Versailles) I. Edition Modern Munich ; 11. Lucero Print

7 flutes move along a "square well" of 96 sounds - an "infinite melody", closed circle of "inharmonic" quarter-tones. Each of the 7 has a different start point: a canon which had already began since the sound-sources play continuously.

Each sound lasting ca 9 seconds (subjective time) is irregularly placed within a period of 11 second-long (objective time). Imagine a sphere with equidistant 96 meridians/feints through which irrupt 96 micro-music events. Due to their various consistency that implacable periodicity (the 11 second-pulse) will become imperceptible.

Four types of sound-production technique ("timbre-being") activate the micro-spectrality of each sound:

1. yellow tremolo ("morse" signals of different fingerings on a unique pitch)

2. stable multiphonics

3. unstable multiphonics, "overblowing producing "spectral thermometers", multiphonics variably explicitated

4. simultaneously singing and instrumental sound with flattertongue

The statistical reading of these 4 types of "timbre-being'' creates a "directional random" evolving toward several "accidents of purity" (the 20th eruption : 6 yellow tremoli and l overblowing the 43rd eruption : no multiphonic (unique case) the 87th eruption : 6 sung flattertonguings and 1 yellow tremolo) and inscribing itself into a fusiformali macro-register trajectory. This resembles a natural phenomenon where the cause (sound - sources) and the effect (sound parameters) become very often undetectable, a "drunk organ" simulated by the seven flutes.

The 7 soloists are conducted by the composer.