In 2020, when I set out writing a violin and cello piece, I had no idea what I was getting myself into. I spent months sketching ideas, but none of them felt quite right. One day, after having presented numerous sketches to my friend and mentor, Matthew Whittall, he told me something that I was suspecting for quite a while: “If you want to write triads, why don’t you just do that?”
Of course, he was right, but it is easier said than done. It may sound odd, but since I’ve taken composition more seriously, I’m wary of presenting anything that remotely resembles a triad. Don’t get me wrong, I loved what I was writing, but I was always in a constant fear that my music would be subject to judgment and degradation. The reasons why I may have felt like that are manifold and could themselves make a great topic for a thesis, but suffice to say that “In 12 Minutes” was a turning point for me. I made entertaining music and I wasn’t ashamed of it.
“In 12 Minutes” did not only help me to overcome my fears of expressing myself, but also introduced me to the beautiful world of post-minimalistic music. In the past, I had been guilty of looking down on simpler music, thinking it was easy to write. Needless to say, once I embarked on this new medium, I faced challenges that I had never confronted before.
The title of the piece “In 12 Minutes” seemed like an appropriate one as the piece attempts to develop a constant machine-like idea throughout 12 minutes. Interestingly, the title also serves as a convenient tempo-marking, while at the same time letting listeners know in advance what they are signing up to.
I had a world of fun writing this piece and I hope that you, too, will enjoy listening to it.