“The bird is translated for our ears not only through the notation of selected bird calls from all over the world, but also through the sonic imitation of the different soundscapes of its surroundings, the different landscapes. They interest me as the immediate, non-stylised material of nature.”
Arash Safaian
For this reason, the sound of nature should emerge directly from the orchestra, without playback or the use of electronic aids. For the sounds of any natural habitat do not arise from a random acoustic organisation, but from the logic of the balance of the living beings that inhabit it – one could understand these soundscapes as an orchestra in which each instrument has its specific place.
This only becomes tangible through the aestheticisation in the composition, so that during the concert the listener is no longer just in the concert hall, but is also acoustically transported into the respective habitat, e.g. forest, mountains, steppe. The work alternates between passages that spring directly from birdsong and those that arise from the musical logic of a modern violin concerto: In this work, the solo violin embodies, poetically speaking, a song that both birds and humans understand.
By translating the birds’ song into our human language with the help of music, we connect with the grammar of nature, according to the artistic intention.