de Guise, Jean François – Frammento di rumori confondere op. 17, No. 5

Guise Jean François de
Frammento di rumori confondere
per cinque strumenti a corda
op. 17, no. 5

Although laid out in the extended 12-tone technique, the composer also uses "unnatural" sounds, i.e., those that must be specially produced by the player and resemble noises rather than tones.
The fact that Jean François de Guise tries to expand his tonal world is shown by the fact that he does not commit himself to one direction of composing, but rather appropriates color tones as much as possible in order to be able to present his ideas even more consistently.
The work "Frammento di rumori confondere" was written in 2009 for the chamber music series of the Melanchthon Church in Dessau-Alten.
Here the work stood on equal footing with compositions by, for example, Ligiti, Schoenberg and Ferneyhough, even though it was the shortest in its performance duration of 3:30 min. Its abrupt ending, which is a bit irritating as it gives the impression that it remains unfinished, which the empty bar at the end also implies visually, is also a sonic device used by the composer to make his audience think, or better, to make them take a position.
Contemporary music, in his opinion, should not be merely accepted, but should arouse feelings and reactions.
In its "confusing" sound, which is already revealed in the title, the piece stands for exactly that.

2 violins, 2 violoncellos, double bass
score & 5 parts / 23 pages