for B♭ clarinet belongs to a series of untitled solo works composed in Leipzig between 2013 and 2018, each identified solely by its instrumentation. The series includes pieces for alto recorder, B♭ clarinet, piccolo, solo violin, and string quartet, and remains open-ended, though currently paused.

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These works are not based on the accumulation of so-called extended techniques as isolated effects. Instead, they pursue an extension of technique by approaching each instrument through the physics of sound production. Parameters such as fingering, pressure, embouchure, air, resistance, speed, angle, and noise components are treated as compositional material. Each instrument defines its own parameter-world, and the music is composed from within that world rather than applied to it from the outside.

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This approach determines the notation as well. The score employs a hybrid language between tablature and traditional notation, since what is often composed is not a pitch, but a constellation of actions. Notation functions as a tool to separate, layer, and synchronize physical dimensions, allowing technique itself to behave contrapuntally.

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Ideally, the piece is performed from memory and in near-total darkness. Memorization embeds the music in the performer’s body as timing, energy, and coordination, while darkness removes visual management and redirects both performer and listener toward sound and perception alone.

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Performance History

• Tagung zum Manierismus

    Goethe-Universität Frankfurt am Main, Germany
    October 22, 2016
    Clarinet: Hugo Queirós
    (live recording)

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• Lockdown Diaries – Tempus Konnex

    February 13, 2021
    Clarinet: Emanuel Dantscher​​

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Related works (same series)

• for alto recorder – Sylvia Hinz

• for piccolo – Ine Vanoeveren

• for violin – Roberto Jurado

• for string quartet – Mivos Quartet