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
Duration: 15’
Instrumentation: 2 violins, clarinet/bass-clarinet, electric keyboard (Korg M1), 2 percussion
First performance: Teatro Alameda, Seville, September 14th 1992
Gavin’s Notes:
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
Aus den Letzten Tage (1992)
In April 1992 I wrote a piece for two violins and optional synthesiser for an exhibition called The Last Days which opened the Seville Expo. The idea of the exhibition was to look at the end of the century in a non-celebratory way – in opposition to the nonsensical millennium approach. I called the piece Die Letzten Tage since it was the Austrian Karl Kraus whose sardonic writings informed the spirit of the exhibition. Aus den Letzten Tage takes elements from this piece, changed in structure and modified for full ensemble.
