Suchness in terms of ensemble/genre
The experience of a particular kind of entity that manifests itself in music, a suchness, is inextricably linked to the ensemble, and my imagination can clearly not avoid employing all sorts of ensembles. If I see an image like one taken from an opera, such as Siddharta, the young prince who grows up in an enchanted garden, a garden which is meant to seduce him into the belief that life is devoid of tragedy, pain and injustice, then what I have is the image of a world so carefully constructed that even such a highly-gifted person as Siddharta, who later became the Buddha, was not able to see through it. This means that I am faced with a monumental task which can only be solved in the form of an opera, with choir and orchestra and soloists and a stage setting, whilst other works can unfold simply as a clarinet solo, from within which emerges that little web of tissue that I have experienced as a fairy ring. It is like this in the case of all the different genres, they arise as representations in various sizes of the images that pop up in my consciousness while I am composing.
