Taking a page from visual artists who use studio assistants or craftspeople to fabricate their work, this series of electronic pieces explicitly transforms the scores of well-known musical compositions into radically re-situated musical gestures. The harmonic and rhythmic information of the scores remain intact. However, the original compositions are denuded of their intended power as masterworks of great virtuosity and presented as meditations on restfulness. The resulting sounds intimate at the retiring of the original works to make room for other sounds and ideas to emerge.
In these fabrications, stretching the scale of the work increases the amount of time spent with each harmonic moment. But the harmony itself is beside the point. Each instant of encounter with the sounds is like a thought, entering the mind with ease and affecting the emotional landscape disproportionately. As though in a meditative state, our role as a listener is not to judge the sounds, but release them back from the self into the space.
Fabrications #4: Omni features the score of Viderunt Omnes by Perotin.