String Quartets Nos. 1-3
Performed by the Arditti Quartet. "As a composer I am like an architect building a house for music and hoping that music will move into this house -- not as content occupies form but as the spirit moves into the soul. A musical score is usually notated such that we can read the sounds vertically and time horizontally, with many possibilities for the symbols and methods. The organization into bars and the continuation into clearly perceptible beats have led to an idea of music in which the events of sound are arranged as if on a temporal string. In order to arrive at a completely different conception of music, we need only think of a situation in which the sounds are placed in different positions in a room without any clear temporal change such that the music that might result does not move past our ears, but instead we move within it as if within a space." As early as the 1960s, Erhard Grosskopf was making the spatial dimension a theme of his music. For example, in 1969 he composed a seven-channel instrumental-electronic work for the German spherical pavilion at EXPO '70 in Osaka (Dialectics) and in 1971 Hörmusik, the first spatial composition for the Berlin Philharmonic hall and its orchestra, about which Heinz-Klaus Metzger wrote thirty years later: "Space, which is what this score is about, is not the space in which it is realized but, on the contrary, the space it realizes; it produces it compositionally."