Were these tasks of composition/performance technology similar to tasks for INFERNO and PURGATORIO?
Thematically, this was the third part, following the first and the second one. Of course, this fact did have an influence on the composition. Transforming a linguistically difficult contents into music was very difficult here. Some fans of our music might have expected rather abstract, atonal or purely electronic sound collages. I created loads of sound layouts before the first concrete notes were put to paper. What we can hear today, was definitely the only thing that worked out – according to my understanding of the material. Many other styles of the average soup kitchen of electronics or of of the orchestra avant-garde would have sounded pseudo modern, hip, anemic and dissonant on purpose here. I threw at least the same amount of composition material into the famous virtual waste paper basket on the desktop. That corresponds more or less to the amount you can finally hear on our two CDs. Concerning realization and performance technology, this project was disproportionally more difficult than the first two parts.