Barblina Meierhans

Everything that is the case  (2016)  #12’
pour flûte alto, clarinette contrebasse, percussion, violon, violoncelle et diverses choses

In concert
Prötön - 04.02 11:

I let eighteen coincidental or inconspicuous things, that have been gathered together, fall at five different points in the room. One after the other, but in a random sequence. The fall in itself can barely be described, I observe it. The impact with the floor somehow appears to separate itself into three forms: some things remain lying in one place and position, some things bounce and jump on again, some break and smash into pieces spreading themselves. The acoustic results are diverse and never repeat themselves, too diverse for categories, but an order is created of the relationship of the eighteen things to one another, precisely as a result of the touchdown which is created anew and different after each fall. The only constant remaining is the rate

of acceleration, which, precisely for its constancy, escapes our perceptions. What remains to us are the descents. They fall down, unnoticed, but how do these relate to their impact? They crash in our ears, even there, where hearing begins. Soundwaves crash unceasingly on our two hidden interfaces. When silence or nothing occurs, does something occur to us? Or where does composing begin? And, above all, when? And in the case when it just does not succeed, does it occur to us or not? The touch down is the beginning, or even collapse. Does it fall in, in here? EVERYTHING THAT IS THE CASE concerns itself with the coincidences and contingencies of an arrangement and attempts to make audible the moment of a descent in all its impossibilities.