In The Completion
for oboe, viola, and found-object percussion
Omdat ze Rond zijn
and large like pregnancy
On the Two Occasions
of her inside them
On the Second Occasion
zij huilde in haar aanwezigheid
Snijd het Mindere Eraf
For In the Completion, there is no privileged listener. Multiple structural ambiguities inhibit any sensation of completeness. The ambiguity of vagueness, where essential musical information is removed, and the ambiguity of contradiction, where contradictory musical materials exist at once, serve to create odd relationships between the musical materials, instruments, and movements. The omission of smooth transitions and the juxtaposition of contrasting sonic materials create gaps that obscure any logical, linear thought. Varying perspectives of the same musical material within one sonic frame participate in a multifaceted dialectic providing the listener the power to create their own hierarchy of the sonic materials presented. While varying ambiguities are explored throughout, a strong aura is preserved.
In the Completion confronts a fundamental divide between the physical and mental, where the physical has moved forward, and the mental has stagnated. Instances of the past resurface and any attempt in gaining completion between the physical and mental is stunted.