1992
pour 16 musiciens
durata: 
11'

flûte alto, saxophone, cor, trompette/ flugelhorn, trombone, tuba, percussion (2 jouers), accordeon, piano, harp, violon, alto, violoncelle, contrabasse

création: 11.1992, Maison Radio Suède, Studio 2, Stockholm
KammarensembleN, direction: Russel Harris
éditeur: Svensk Musik

" I experience music as forces, bodies whose play goes on in the space between different registers, in the tension between different frequencies. The music is built up from special tone centers, fixed tonal bands which lend stability to the piece as a whole - a homebase for the sound sequence that wants to go some other place, to be lead to another existence, another level, another "key". In Tillstånd - Avstånd, the d1 tone is the starting point, the fixed point, which descends to c1, to ascend to e1 at the end of the piece.The music, and its mood, is constructed from these minimal differences. As it progresses, the fixations break up: the fixed points are attacked, lost, and around the middle of the piece everything falls to fragments in a drab, highly dramatic mass, until suddenly a new condition is reached, and the movement can continue on its swinging way between different intervals, a little higher and a little lower, yet still by and large quite static.

Madeleine Isaksson, 1993
(from A conversation about music, poetry, esthetic between Katarina Frostenson and Madeleine Isaksson (Halifax, W&W, 1993)