...sans fin pays hommage to composer Josquin de Prez.
It drives material and inspiration from his œuvre as a whole, but also from certain works, such as his mass Missa L’homme armé super voces musicales, Mille Regretz, El Grillo, Nymphes des Bois, Miserere. In addition to the musical material and Josquin’s techniques, it borrows fragments from the lyrics of the aforementioned pieces. Besides any reference, ...sans fin tries to transcend Josquin’s essence in a personal sound world, through his main medium: the choir. Beyond melodic lines and harmonic progressions, this is a piece of melting sound spheres that dissolve into thin air. In their microform, the patterns repeat themselves before ending in a resolution, meant either literally -in a purely music sense- or metaphorically. To this direction, cadences and formulas clearly addressing Josquin’s techniques serve as a guide, in order to give more vague processes a similar meaning.
...sans fin is dedicated to my dear teacher Panagiotis Adam, to whom I owe most of my knowledge and love for Josquin.
The whole piece is a lament, sunk in an unending sorrow where death is anticipated as a sweet sleep.
supported by Bundesministerium für Kunst, Kultur, öffentlicher Dienst und Sport
conversations with myself, conversations with Bill Evans, conversations with Cecil Taylor, conversations with my piano. energy in the sound, energy on the fingers, energy on the elbows, energy in the body. further conversations with myself. gesture on the paper, gesture in the body, gesture in the air. rhythm on the paper, rhythm as a tree, a bird on my fingers. new conversations.