What were the challenges of writing for an ensemble that combines period instruments and contemporary music specialists?
Not the pitch, as everybody assumed. I just ignored it and transposed the parts for the period instruments. It is rather the different attitude to the instruments, to the body, to written music in general, which I found interesting to discover. They play an important role in the performance and create that delicate intensity. Listening to the electronic soundtrack at the premiere was fascinating – personally, it gave me the impression of being in an underground bunker perhaps listening to the crackle of a radio or with someone on a typewriter – how is it constructed, what sounds do you use? I am happy to hear your associations. I just used one little sound, a few seconds long, from my opera and processed it through several electronic devices quiet violently so that it became an half an hour soundtrack in the end. I am deeply superstitious about the coherence of the used material, so I try to avoid any sort of deliberate sources. What were your impressions of the first performance in Ju