Making music sculptures can open a window to the unknown areas of music which are out of reach for imagination and audition beforehand. Every new finding has it’s own charakter and tells for itself how it wants to be treated. Since i use metal, most sounds tend to be slow what mainly determines my approach. And of course the other way around.
Listening to slowness lets the ear’s focus shift from the perception of patterns and lines to spectral colors and overtones. So if you want, all music can happen within a single note!
In search of a bridge between these two worlds the Stahlcello was born. It’s actual version covers a sufficiently balanced chromatical range of 4 octaves and is slow enough to evoke the desired spectral perception of sound. Relatively manoeuvrable on tour and versatile to contexts it became my sail, cruising and guiding me and my fellows of Stahlquartett through all kinds of music.
Most of the other sculptures feature only few pitches but allow for improved sound manipulation, synesthetic experience and connectivity to a particular environment.
