In the
beginning, maybe, music transcends the composer. There is a piece of which score is not
written black on white. There is a piece
which is not heard literally by anybody as sound.
In the
beginning, the composer has a few ideas that charms him/herself or even a lucky
piece order from somebody else which may dictate a form or a group of
instruments to use.
The music to
be, transcends the remembering ability and perceptions by any means of the
composer. He tries to catch something
that he partially imagines and tries to reach the whole of it.
The
transcendence of the composer by music is similar to the situation of a two
year old child trying to speak his first words, phrases... The two year old child tries to express
himself and speak but he is not able to do so.
He/she solves the speech difficulty by percieving the difference between
the external world and him/herself. The
development of ‘self’ helps him/her to overcome the transcendence of
speech. During this process he also
develops a somewhat ’ language’ which helps him to express himself.
Similarly, the composer begins to develop a ‘self’ for
his music, beginning with the initial ideas.
As the music progresses with its first page the material used establishes
a ‘self’, which tells the composer what belongs to this piece or not.
As the
composition process progresses, this ‘self’, the identity of the piece gets
stronger and the piece gets a personality seperate from the composer. The composer becomes the servant of the new
born music to write down what is necessary, what is beautiful.
The
materials used in the first movement sets a ‘language’ which dictates many elements
for the other movements and even for the other pieces that the composer will
dream...
At the end,
may be, music transcends the composer again.
The composer has written a music
which may set an example for other composers to pursue...
Maybe,
Penderecki, Serocki and Ligeti have done this.
Ali R+ SARAL
