In Mask, musical layers are covered and revealed. Overtone ‘masks’ in the soundtrack transform the colour of the notes in the instrumental ensemble, shifting the sound texture. The acoustic material played by the ensemble is manipulated and snipped apart in the soundtrack. The musical layers within the ensemble and soundtrack overlap one another; sudden interruptions rip a hole in the texture, revealing previously concealed layers.
A percussionist obsessively pulls gaffer tape from a table surface, causing the ensemble to react with manic outbursts. As an old-fashioned metronome, operated by the percussionist, gradually becomes muffled, the soundtrack slowly robs the ensemble’s sound of its overtones.
Mask is commissioned by Kunststiftung NRW, Fonds voor de Scheppende Toonkunst and Casa da Música, Porto.