The music produced by the Variable Geometry Orchestra (VGO) results from
layers of acoustic and electronic sound matter that constantly searches
for detail and meaning. Its sounds contain subliminal as well as psycho-acoustic
characteristics and include the possibility of complete silence. The music
emerges as if from nothingness only to disappear once again back into
it. Thus chaos is formally organized with the use of new concepts of indeterminism,
instantaneous composition, as well as through the asymmetrical eruption
of alternated moments of sound and silence (the absence of identifiable
Nevertheless, sound prevails. The conduction is operated by balancing
the sound masses that travel in the acoustic space, dictating the construction
of the real-time composition, and thus revealing the organized juxtaposition
of specific instruments as mobile sound groups.
This leaves space for the musicians to regain their natural rhythm and
breathing, as well as their sense of random pulsation. It also allows
them to listen to all the sound events that are happening at any given
moment and thus to act accordingly. On the contrary, they can simply listen
to what another musician has just begun. The musical space is thus filled
only with the intrinsically essential elements.
Another of the outstanding aspects of the orchestra is how open it is
to new participants. That is one reason why it is called ‘variable’.
The influx of new creative power is tempered only with a truly democratic
spirit where hierarchy is reduced to a bare minimum, also permitting a
very large number of combinations and permutations of smaller ensembles
to be arranged on-the-spur-of-the-moment.
Last but not least, the orchestra encompasses three generations of musicians
who have set age aside to pursue a common contemporary language.