There is no
need for arrangements working with new languages, it is a matter of experience.
Only within the plain and sudden exchange with the opposite, the outline
of the new and still not-experienced shows itself; it can be constructed
and changed. The composition of the moment is the strongest and most direct
musical expression of this realization. To focus on and implement the
next step clearly and consciously, to shape valid structures within this
process is a challenge and strength for which the theoretical and practical
experience-based, uncompromising improvisation is the best resource.
The first recording of VIST AG affirms in a convincing way that Instant
Composing is still one of the most complex and veritable correspondences
for the search for an adequate language in contemporary music.
Nothing is static here, everything disintegrates but also stands firmly:
the chemistry of the four players, who move as passive-active border crossers
at the areas of conflict between meditation and impulsiveness. This is
once more the most genuine explanation for the enormously independent
and highly individual character of this unbelievably convincing music.
Exclusive lethargy is likewise prevented as cheap expressiveness. It is
the members’ analysis ability of their precise and sensuous clear
realization, which enables this extraordinary shine and the bubbling energy
within this imperturbability.
Different aspects are explored in a concentrated and highly conscious
manner intensively and extensively by this vivid, creative cell. The perhaps
weightiest background is the material creation and form giving, documented
by the literature of composed music of the 2nd half of the 20th century,
if e.g. serialistic concepts experience an improvisatory vibration. There
is the large ability to transform non-European and ethnical musical traditions
e.g. of the Japanese NO theatre or the intonation of the professional
and local Hungarian music of the Roma. A large topic and center is also
the common breath and the flowing transition from noise to clear sound
and vice versa. Allowing the stretch of parameters in an explicit sense
not only to permit contradictions, but to connect them dialectically,
the calm, floating appearance and the impulse to physicalness and eruption.
The interaction of string instruments and voice moves here very intensively
in an attitude of electro-acoustic sound production. But dynamics, modulation,
concentration and intensity of the sound language, VIST AG however is
capable to work out in a much more varied way.
According to Derek Bailey the best music develops if the ensemble plays
together for the first time. According to Evan Parker's opinion it will
be if the ensemble plays together for a long time. For Michael Fischer,
whose long term wish was an ensemble of voice and string instruments,
both is possible, and VIST AG is the alive proof.
Freely from the first moment on.