Considering the fact that I had to compose for a three men voices piece, I took the decision to excavate deep in the history of music and the usage of the voice as the only physical instrument of the human body. My main intention was to draw associ- ations with the esoteric and forgotten practice of the ancient greek Byzantine music and the isorhythmic motet of Guillaume de Machaut in order to deal with means of division, prolongation and abbreviation. On the other hand, the above mentioned elements have been combined and they are dialectic to a contemporary perspective of the human voice and pronunciation of language where the element of noise asserts to bring up on the surface traces of human history.
In order to fulfil my goals I have chosen to use three different texts, not as an at- tempt to lead the audience to a specific meaning but as elements of my craftsman- ship, as my “wood” or my “stone”. The main focus of these texts was the Greek poet Constantine P. Cavafy where the ancient Hellenistic language, encounters the con- temporary view of human existence. Inspired from the parallel texts which Guillaume de Machaut and his contemporaries were using simultaneously, in this piece coexist Cavafys’ poem on spanish language „En el mes de Atir” translated by the contempo- rary spanish poet of J. A. Valente, Augustinus’ passionate ending text of his tenth book of Confessions on the Latin language and finally another poem from Cavafy with the title „Das Grab des Iases” on the german language. The purpose behind this choice was to avoid a nostalgia of the past and to bring different texts from different languages, abandoned from their hellenistic past, altogether on timeless situation where the essence of what time is focuses on a multilayered perception of present.