|1(picc) 2(ci)21, 0110, batt, cel, ar, pf, archi|
|dedicated to:||Paul Sacher|
|date:||10 I 1990|
|edition:||PWM, Chester Music|
In strong contrast with those two compositions, the aesthetic of the Interlude makes this piece almost a mystery. The slowly shifting plane of contrapuntal strings is not a process, but a certain state of sonic material maintained consistently in the dynamic level of piano - a non-conflictual ‘time-stopped' state. This plane created by the strings is accompanied by motives in the wind instruments, percussion, and harp, piano, and celesta, which encrust this seemingly immobile state with delicate, arabesque drawings that create the impression of having been taken from a different sonic space. The metaphysical pensiveness of this piece brings to mind on one hand Charles Ives' The Unanswered Question, and on the other hand, the scores of some minimalists.
The composition's world premiere was given in Munich on January 10, 1990, together with the concert world premiere of the orchestral version of the Partita performed within the entire triptych: Partita - Interlude - Chain II. The soloist of the evening was Anne-Sophie Mutter, and the Munich Philharmonic Orchestra was conducted by the composer.ach / trans. mk