Dedication to various preparations of the saxophone and thus the so-called alienation of the instrument brought me to clearly understand two things within the period of a decade. The sound synthesis, which occasionally refers to extra-contextual associations (e.g. saw, construction work, synthetic sound, etc.) has a certain possibility to be controlled through the technical aspect of the instrument itself (i.e. the pressure of air, half-opened keys, ‘fake voicing,’ etc.). As another, the physical preparation of the instrument actually causes the transformation and thus the change of the acoustical resonance of the saxophone.
In practice, such an approach enables specific timbral changes on the saxophone, which occasionally acquires acoustic properties of other instruments such as flute, clarinet, trumpet, and others. One can alienate oneself from their own origin. Through the additional electroacoustic transformation, we can acquire an additional sound dimension that is somehow unrelated to the sound art itself and it reminds me of the watercolour technique, which causes shading and shifting opacity of the interweaving colour through a concrete physical gesture. A spectral approach enables the organic material, the eternal matter, which in its essence returns the primal reflection to the auditory site.
This time a performance of ‘Elucidations to Self-Estrangement’ brings the latter,
an instrumental solo with preparations and electroacoustic processing of the sound which captures during the concert all the parameters that are in many ways at the limit of feasible.
I see it as a peculiar watercolour technique that draws material from existing works of philosophy, compositions and existentialism where the perception of the saxophone becomes an object of knowledge.