MATHIAS SPAHLINGER: furioso

The ensemble is conceived as open, as in flux, the musicians and instrumental tones as coming and going. Ideally, if the procedure wouldn’t be too obtrusive and apt to distract from the music, the musicians, each at their own tempo could be drawn across the stage on podiums on wheels, so that they would appear with the first note and disappear with the last – apart from the violoncello, which must be silently present and apart from the piccolo, which can be heard in part IIa, but which should also be visible in IIb.