The composition is based on the idea of bringing two musical instruments (in this case: saxophone (alto) and computer) face to face and point out their common characteristics in order to compensate the time gap between their inventions and hereby contribute to the acceptance and understanding of this wonderful extra feature (producing original sound) that comes with the computer, which prime function is rather different. The other goal is finding or inventing methods of communication, which would allow a single musician (a saxophone player) to control or play both instruments at the same time. Therefore I defined for each instrument three levels of use or “misuse” which are equivalent in pairs, and furthermore find themselves in constant interaction. The computer sound was composed in PD (pure data), where also the whole real-time composition was programmed and realized. The piece was originally written for 10 speakers, but can also be adapted and performed on stereo systems.
Miha Ciglar is a composer and sound artist currently studying at the University of Music and Dramatic Arts in Graz, Austria. Originally from Maribor, Slovenia, Ciglar now lives and works in Western Europe. Since 2001 he has performed his own compositions for saxophone, guitar, vibraphone, double bass, electro-acoustical performances, interactive dance performances, computer music and audiovisual installations at many art festivals all around the world. His work has strong conceptual fundaments and points away from expressive values of common aesthetic ideals. A subject of high concern and priority is the problem of absolute awareness of sonic perception which is directly connected with the question of existential legitimacy of sound art. Ciglars compositional approach and attitude towards technological solutions are very similar and rooted in a revaluation of existent “material”, resulting in its preliminary decomposition, in order to absorb its originally suggestive character for an employment in the further process of creation.