Acoustic Field for flute, clarinet in B-flat, vibraphone, piano, violin and cello (2011)

The harmonic language of Acoustic Field is derived from, but not limited to Olivier Messiaen’s Modes of Limited Transposition. The chord structures are usually dense and complex – they explore the upper partials of the harmonic series. By stretching the harmony through time, it allows the acoustic space to develop and resonate, thus creating a colorful acoustic field.

The piece is divided into three major sections. The first section explores the timbral variety of individual instruments. Thematic materials are often presented by solo or duet combinations with accompaniments. The middle section is marked with a metrically active rhythm, and is thematically developmental. The last section derives the harmony from the first section, but almost completely dissolves the other elements such as rhythm, texture and themes. The thematic materials are presented in fragments; the texture becomes denser and resembles that of the middle section; the stretching of the harmony is maximized, therefore creating a static acoustic field that serves to dissolve the complex harmony.

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