for bass flute, bass clarinet, electric guitar, percussion, piano, viola, violoncello, 7 megaphones, electronics

Commissioned by: Südwestrundfunk
Premiere: Donaueschinger Musiktage 2015, Ensembme Mosaik, Conductor: Enno Poppe, Electronics: Holger Stenschke (ZKM | Karlsruhe)

For Giles Deleuze and Felix Guattari, the term νομάς (nomás) from the Greek "nomad" stands for a theoretical figure that embodies nonconformism, transgression of boundaries, and freedom. It is the free and cosmopolitan spirit that positions itself subversively against established social structures.
During the work on Nomás, important political events occur, including the referendum in Greece and the decision for "OXI". I interpret these events as crucial insights for a new Europe. Would Zeus fall in love with this Europe today? Basically, they also represent realpolitik and an ideal of democracy, which irreconcilably contradict each other. In this context, the figure of former Finance Minister Yanis Varoufakis embodies that, of the nomad.
In the work on Nomás, some questions around the idea of the nomad played an important role: how do you behave when you are in a different environment? What do you take with you from the different places you have been and what do you keep from your original self? What does one leave behind in that place? Similar to the nomad, as a composer, I feel the constant restlessness of homelessness and also of self-criticism. The idea of a new beginning is always present.
In Nomás, written for and with ensemble mosaik, the sounds first emerge as subjective interpretations of tangible concepts. These can be historical, acoustic or musical in nature. They can be produced by both acoustic and electronic instruments. What interests me most is the transformation of the sounds through the temporal or vertical context in which they are placed and their transformation through the means of reproduction. In this process, the idea of instrumental and electronic resynthesis plays an important role; much like an x-ray, the sounds are illuminated and information is extracted. The initially inconsequential data is interpreted through a highly subjective resynthesis, and thus different realities are created through electronic analysis of acoustic and electronic sounds. It is the process of resynthesis, the mirroring and reflection of reality, which ultimately leads to a change in reality. With each imaging, the bond between image and image gradually expands. What remains on the way between the transformations is the noise: the subtraction, the disturbance. The perception of information and disturbance is arbitrarily exchangeable and remains a matter of interpretation.
The nomad is always moving on. The comfort zone is replaced by movement and identity. Steady. Stubborn and against something. Against fashion, USP (not the Ultra St. Pauli) and any kind of dogmatic pragmatism. The nomad takes the noise as a reminder of the human.

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