Conceived in 1973/74, the work includes an assembly of mechanical/electronic sound generators based on the principle of aeolian tones (a "sound sculpture") electronically amplified and excited in real time by only one player using his breathing and by utilizing four nozzles of compressed air of a discrete capacity (up to 1.5 bar).

The use of the expression "sound sculpture" is nothing but a metaphoric image, as far as pitch, tone-colour and attack-mode are concerned (including the degree of limitation imposed on the instruments at the moment of their construction). This should never be confused with any visual or plastic installation in the proper sense of the word.

In order to understand the piece correctly, I would suggest listening to it without any formalistic or dialectic preconceptions (for example, those related to rhythmical articulation); I would rather stress an appropriate concentration related to the subtle variations of colour connected with the modulation of the harmonic formants.

The piece performed is exclusively due to the direct action of the interpreter over the above mentioned aeolian generators and, apart from electronic amplification, it does not make use of any electronic or digital manipulation. (MB)

See also: Music Review in HIGH FIDELITY / musical america, September 1977