Andreas Dohmen's music can be seen as process transmuted into sound: sound not as a finished product, but as something being fashioned in the moment of its inception, sound as part of its own evolution. This "fashioning" of sound is a magnetic pole in the force-field of Dohmen's music. It is here that the allure of his compositions arises, perhaps because they function in several layers. His music deals in ever-new ways with this "fashioning" of sounds, which becomes a component part of his music – on the level of its structural organization no less than the immediate instant in which sound is produced.
This allows him to write (i.e. to structure and organize) a piece like "frottages" by employing the like-named technique from the visual arts, and yet to have it actually sound like "frottages"! What we hear are these processes, which we can briefly follow in the sound of the music before they are depleted, interrupted, or buried beneath other processes.
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tempo giusto für großes Orchester mit Schlagquartett-Solo Kuhlmannkommentar für Sopran, vier Männerstimmen und drei Instrumentalisten Frottages für Ensemble Musik für Gerhard Richter (Portraits und Wiederholung II) für großes Orchester
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