If we take in situ art seriously, we can try to rethink the situation of a work in its concert. How can we subvert the continuity of the show, how can we reverse the relationship between the piece and its environment? The idea behind openings is to subvert the sequential logic of the concert, to form the concert from within. Instead of restricting invention to the bangs of the repertoire, the time of the concert would become that of creation, which would positively renew listening to the repertoire.
Openings is thus a discontinuous composition that unfolds within a concert, opening it up at six points. Each passage is longer than the previous one, until a six-minute track is heard, for a total of some ten minutes spread throughout the concert. The increasing rhythm of the piece’s appearance also allows the listener to enter gradually, to grasp it through the variable contrast it establishes with the other works – each of which can be said to form an opening in the musical sense.
Interwoven with works from the classical repertoire, openings is a double opening, first allowing doubt and intranquillity to enter into familiar music, then distancing itself from it through sound work, like an escape route from the classical legacy.