Beethoven already knocked on the objects in his apartment and Oskar Fischinger told Cage that all objects had a soul that could be freed through their sound. In this respect, a person’s voice is of a very special kind. Regardless of the music it sings and whispers, it is a particularly complex composition of general human and special ego structure and a world of independent abilities and experiences. I always have the idea of ​​an innermost centering that radiates and flows outwards in a cone shape. This (tonal?) centering determines the tones and sounds in a very strange way, but still insistingly retains the ego focus of the sound. It is not for nothing that in Asian singing cultures – for example in Korea or Japan – the voice is associated with percussion. This is not just a “rhythm” for singing, but above all a sound point (in the attack) and a decentering opening to the sound souls of other objects and materials.

While composing my piece, I was driven more and more to push the music towards other materials, to other resonances (also of thought) up to the globalized, fairly purely vibrating frequency of the tone of a tuning fork. Now I can only hope that you like the music and the underlying structure of sensations.

Nicolaus A. Huber (2004)