Roland Dahinden: trombone;
Hildegard Kleeb: piano;
Dimitrios Polisoidis: viola, violin;
Recording of Hessischer Rundfunk, with kind permission, 2000
When you are listening to his pieces and are compleately at ease, they offer the listener the beauty of pure sound:
I belive this also applies to his like-minded friends. Even when and if they are of a continuous narrative type,
they just create the right situation to listen to sounds. As the title reveals: Painted cakes are real, too."
The beautiful sounds are repeated in order to remain purely sound. This repitition does not build up a narrative,
it becomes more complecated and excited not in order to entertain the listener, but in order to analyze and and
deepen the sound.
The section before the last one with its repeated interval is the very revealation. It reminds me of the
stories Cage loved so much, with as ultimate moment not a further conclusion but a fresh naked statement.
This section is like the arcoustical harmonies of a bell. The whole piece, in its proportions, becomes
something resembling a gigantic or a microscopic analysis of one single bell-sound.
A painted bell of course, which is real, too. (Boudewijn Buckinx)