The three movements of the quartet "Phrase & Fiction" are based on the opening phrase of the piece. Each movement looks at this phrase from a different perspective. In the 1st movement the melismatic nature of the phrase is explored. Melody develops through rhythm rather than by harmonic means. The computer part grows out of the melodies, often resulting in transformation that could be described as sound "morphing". The 2nd movement is more static in nature focusing on the harmonic/timbral implications of the original phrase. I was interested in that "grey" area where timbre and harmony may no longer be told apart. In the 3rd movement different tempi are applied simultaneously to the original phrase and to secondary phrases derived from it. The concept in this movement is based on ideas found in Conlon Nancarrow's music. Yet, I tried to avoid the feeling that once every instrument sets out at its own speed the composition progresses in an almost predictable fashion. Such 'determinism' does not establish strong musical relationships between the drifting tempi. I habe tried to solve this problem by making the different tempi move in and out of synch with respect to one other, before their predetermined cycle is completed. I created the illusion that the cycles of the tempi coincide at points where they do not. In the creation of such “fiction” the computer played a major role, since it can perform irrational rhythmic values with complete accuaracy.

Alejandro Viñao (RA), born 1951 in Buenos Aires, studied composition, guitar and conducting in Buenos Aires, continued studies at Royal College of Music and the City University in London in 1975. At present Viñao is working on a chamber opera commissioned by the Zentrum für Kunst und Medientechnologie in Karlsruhe and on an orchestral piece.