Before I start to compose I imagine the orchestra as a vast performance space where the numerous members are spread out, ready to perform any type of musical action. The communicative role of each instrument is a vital source of inspiration for me, and entirely different concepts come alive when I consider the dynamic relation between the individual and the collective in such a large group. In order to explore the orchestra from within, I would like all sounds to be produced exclusively by the orchestral members, without needing any external input. With this aim in mind I have developed an expanded idea of the role of the musician. If I am searching for a sound outside the orchestral instruments’ palette I might bring in an acoustic object to the orchestration, which is also performed with detailed precision.

When composing for orchestra you develop a distinctive relation to the orchestra as a musical room with its unique sonic perspectives. I am striving to explore the contrasts within this sounding space – to experience the close proximity of a detailed sound and its reliefs with spacious, timbral structures. The possible spatial movement of a sound is also an essential aspect that connects to this exploration – how can a sound slowly emerge from the faint horizon and gradually become almost painfully close and clear?

Malin Bang