Written for mixed quartet, The Emptiness That Is Also Not Emptiness is a continuation of my work which explores the aesthetical implications of non-standard playing techniques. Throughout the piece the players are required to produce a gamut of sounds by various means ranging from traditional ‘extended’ techniques such as flute pizzicati to more unconventional ones. The piece is structured around the juxtaposition of three contrasting sections which gradually dissolve into one another as the piece progresses.
The title of the piece refers to a paradox which arises at certain points throughout the piece – how do we define ‘presence’ in the context of acoustic concert music? The extreme high register of the opening seems to accentuate the empty chasm beneath it despite the dynamic, whilst the percussive col legno sounds of the violin and cello imply an abstraction of sound from its original source.
Hugo Bell, 2021
