How to compose a work that demands from the players active participation – not only as interpreting musicians, but also as improvisers, as “instant composers”? How to create a dialogue between pre-composed ideas and the musicians’ real-time input? How to notate such music, which musical elements would allow improvisation and interpretation rather than restrict both, and, most importantly – what should be left out for the musicians to “fill in”?
Two such works are hasBara and Stations and Journeys. I have also explored this compositional approach in Modo Recordar, Modo Olvidar (for viola, contrabass and live electronics), [untitled, 2011-12] (for youth string orchestra), and Different Ways of Getting Lost (written for Asko ensemble).
For a more elaborate discussion, see my doctoral dissertation: freedomandfixity.com