Peter Ablinger’s music is based on a radical ques- tioning of the nature of sound. For the composer, noise must be used for what it is in its essence, apart from any signifying dimension. From then on, all sound becomes a goal in itself rather than the means of a musical elaboration, and demands to be listened to rather than « heard » or « understood ». In this approach, the tone, the time and the space, three factors inherent to any composition, find themselves jointly questioned.
The works take most of the time the form of installa- tions that call upon a specific environment, natural or artificial. The sound result therefore varies according to the place where they are performed. The compo- ser sometimes even leaves the listener to imagine this result by himself, in pieces such as Wege (Weiss/ Weisslich 9, 1986-1993) and Orte (places, Weiss/ Weisslich 10, 1994). This cycle Weiss / Weisslich is composed of many works without actual sound, like Sehen und Hören, constituted of photographies (1994-2003) or Arboretum, a plantation of trees.
Preliminary note from the score :
«theoretically the montage of the score is a ver- sion or a suggestion or a starting point. theore- tically everything could be re-arranged, shorte- ned, extended, while the general idea – density, horicontal and vertical collage remains similar. practically one would probably work with this version but is always free for changes in instru- mentation. »
Peter Ablinger creates his instrumental and electro- acoustic pieces in the same spirit. Sound is treated as « Rauschen » or distinctive « noise ». The tone, the articulation and the intonation exist for themselves and require from the public a listening of the sound phenomenon that abandons all search of a musical narration.