alt flute, saxophone, horn, trumpet/ flygelhorn, trombone, tuba, percussion: 2 players, accordeon, piano, harp, violin, viola, cello, double bass
first performance: 11.9.1992, Swedish Radio House, Studio 2, Stockholm
KammarensembleN, conductor: Russel Harris
publisher: Svensk Musik
" I experience music much as forces, bodies whose play goes on in a visual frame of register, in the tension between different intervals. The music is thus built up from special tone centres, fixed tonal bands which lend stability to the piece as a whole - as a homebase for the sound process that wants to go somewhere, to be lead to another level, to another "key". In Tillstånd - Avstånd, the d1 tone is the starting, fixed point, which descends to c1 and 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, get lost. Around the middle of the piece everything falls in fragments into a 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 quite static. »
Madeleine Isaksson, 1993 (from A conversation about music, poetry, esthetic between Katarina Frostenson and Madeleine Isaksson (Halifax, W&W, 1993)