"Out Of A Matrix (Partially) is inspired by: 1. My love for just tuning concepts, hence rational frequency relations, paired with an "insufficiency" of instrument versus physics and man versus machine, 2. My deep admiration for the musician Hans Eberhard Maldfeld, with whom I also love to work on a contemporary original music for the historical one-stringed instrument tromba marina (CD in memory of James Tenney also out on wandelweiser ewr 1503). His pure dedication to and into sound stuns me when we transform numbers to music!"-Dusseldorf, 2021, Andre O. Moller

Out Of A Matrix (Partially) is a group of as yet 7 pieces for 5-stringed double bass and pre-produced playback (double bass choir).it is also part of the (partially) series for string instruments, of which my first string quartet size matters (partially) (2005/06) is one element.all compositions of the (partially) series have in common that all used pitches are natural partials (overtones), either flageolet or open strings. the also "natural" inharmonicity of the more or less thick strings is hereby nearly ignored.Out Of A Matrix (Partially) is based on a justly tuned scordatura (from deep to high):
the 5 strings are tuned to the following partials of a fundamental sub-sub-contra D# +49cent (5Hz):string V IV III II I
partials 6 8 11 14 20
(in Hz) 30 40 55 70 100
pitches B0 -49 cents D#1 +49 cents A1 +-0 cents C#2 +18 cents G2 +35 cents
(tuning meter calibrated to A4 = 440Hz)the tuning concept for the 5 stringed bass was thought of with care, so the tensions inside the instrument do not vary too much from the classical tuning, making it easily achieveable and stable in a rather short time.out of a matrix (partially) is inspired by:
1. my love for just tuning concepts, hence rational frequency relations, paired with an "insufficiency" of instrument versus physics and man versus machine,
2. my deep admiration for the musician hans eberhard maldfeld, with whom i also love to work on a contemporary original music for the historical one-stringed instrument tromba marina (cd in memory of james tenney also out on wandelweiser EWR 1503). his pure dedication to and into sound stuns me when we transform numbers to music!"-André O. Möller

"Is there such a thing as a "Wandelweiser sound"? Perhaps for a while a decade or so ago, but I sense this is becoming increasingly less true. Yes there remain certain familial connections, but these have less to do with specific techniques or even aesthetic preferences, and more to do with more or less shared concerns about the relationship of sound (material) to context. As has been pointed out to me recently, it's not easy to fit works like Michael Pisaro's ricefall (2) or White Metal into a stereotype of extreme quiet and long silences.

in memory of james tenney I (one just second) is thirty minutes of tromba marina drones played at the interval of a just second. Really nothing else. I am reminded very much of a comment I once heard that a lot of Wandelweiser is "meditation music for people who don't like to meditate". There's nothing to do with pieces like these, it seems, except sit still and get deep inside the sound. Except that this is a really noisy, raspy kind of sound, that makes one feel really self-conscious as a home listener. Extreme and long, yes, but not quiet, not silent. What is this? What am I doing? Can my neighbours hear this, and do they think I'm mad? Breaking through to the interior of this sound takes a deal more effort than for, say, a Manfred Werder recording. Which may be the point.

But then what do you find when you get there?

Yes, there is lots of harmonic complexity, plenty of beating patterns, that sort of thing to get yourself lost in. The timbre of the tromba marina itself is also highly perforated, so there's a really grainy rhythm, thousands of micro-pulses, to sink into as well, which you don't get with, say, sine waves. It's not necessarily an unpleasant place to be, but it is very different from the Wandelweiser stereotype.

The other pieces on the disc explore a wider range. in memory of james tenney II begins with almost a counterpoint between the two instruments as they shift notes against each other before settling on a particular interval. imojt IV (reprise) is by far the shortest, at just two minutes, a bagatelle of a single lolloping arpeggio pattern. The last piece on the disc, imojt V (when eight is seven), is the most active, a melange of insectoid buzzes, glassy harmonics and thunder-like bass rumbles."-Tim Rutherford-Johnson, The Rambler

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