Spiegeltjes (2016)​

II. Snel ca. 4´Na ca. 5´
III. Na ca. 5´
IV. Tekening ca 5´
V. Terug ca. 6´

This cycle of pieces (five in total) is inspired on the renaissance Flemish composers and their use of mirror-techniques. All the recordings (tape) are made in vinyl.

# 1. Spiegeltjes (little mirrors) is symmetrically split in two equal parts with a vertical line, organizing the musical material with retrogrades and inversion techniques. In a smaller scale, the flute plays in counterpoint with itself conforming little mirrors which are expressed in groups of notes with stems up and down.

# 2. Snel (fast): the recorded flute is partially duplicated by live flute conforming a new melody (”mirror with holes”). Mirrors are not only present in the music in multiple ways but also as reflexions on the acoustical space. This intriguing “quasi unison” shapes the harmony of the piece. It is advisable to explore the acoustics of the hall finding the most appropriate location for both performers, which will be diferent in every venue.

#3. Na (after): the pre-recorded flute plays in counterpoint with the live one in canon. The multiphonic chords are shape by this written delay creating interesting harmonies.

#4. Tekening (drawing): is performed by two players, the flutists and a drawer who draws in the mirror in synch with the flute.

#5. Terug (backwards): an evergoing melody is played back and forth, written in classical retrograde style.

The inclusion of real mirrors on stage creates not only visual duplications but a blind spot behind. The two performers have a different setup for each piece of the program playing with the mirror but also takind different locations on the space. Simple movements create very different scenarios and enfazise the acoustics of the hall in a “hide and seek” but “always listening” game.

*All music was composed by Cecilia Arditto