As already evident from the title, my piece regards the sculpture by Tony Cragg in Salzburg’s Makartplatz. From the very outset, I was captivated by the organic-magmatic textures of the work, so rich in associations and allusions, while remaining formally reduced. When viewed from certain angles, it even gives the impression of two larger-than-life figures in an intimate encounter. Thus, in my piece, I cause the soprano and the clarinet to virtually merge and I let both of them interact perpetually in various states of aggregation.
The piano (including the page-turner as an active participant) gives the events their depth, third-dimensionality and magmatic proliferation. The fundamental questions haunting me during the work were these: how would it sound if that sculpture would begin to sing? And which language would it use to articulate? The archaic quality of Cragg’s sculpture naturally and decisively influenced the choice of the antelopic style (words: Durs Grünbein).
Caldera (for Tony Cragg) is dedicated to Mojca Erdmann and Matthias Pintscher.
Johannes Maria Staud