Two fanfares

The fanfares were originally created as an introduction and invitation for careful listening to the “Wind Octet” by Isang Yun (I) and the “Serenade” KV 388 by W. A. Mozart. They focused attention on particular characteristics of the octets that caught my eye and inspired me. In the case of Yun's wind octet, it is a special kind of slowness that I have never heard anywhere else - a pulsation without a clearly defined pulse despite fast note values in long waves. In the fanfare she evokes fragments of melody and then a sonorous continuum across the boundaries of the registers. 

In Mozart's time, the horn as a natural tone instrument developed its melodic potential, especially in the high register. In the depths there were often repetitions of notes in the same, fast note values that drove the music forward. The valve horns used today allow the usage to be reversed. The second fanfare develops fast forms of movement from the depths in small intervals. It doesn't shy away from occasional rudeness and ends in a fall from the highest register, which has its origins in the first movement of the serenade.