Program note

The cornerstone of the piece draws inspiration from its title, "Psithurism," describing the enchanting sound of wind rustling through trees. The term, derived from the Greek word "Psithuros," meaning "whispering," uniquely encapsulates the essence of the wind's sounds, akin to the particular hushed, ethereal, and umbral sounds of the clarinet. The term itself, with its silent initial "p," parallels the transition from silence to the gradual emergence of sound, mirroring the evolution of sound spectra over time – both share the essence of emerging from nothingness to a rich and unique sonic tapestry. Much like the analogy, the auditory experience of wind in nature presents a distinct emergence, transition, and fade. It emerges from a state of static quietude and silence, gradually evolving into a complex soundscape followed by irregular and unpredictable fade. This soundscape is not solely the product of wind; rather, it results from the intricate interplay between terrestrial materials and the flowing air stream. The result is a multifaceted timbre that embodies the fusion of natural elements. This transition from stillness to complexity and back to stillness is not a one-time occurrence. It recurs in an almost ritualistic manner, leaving a lasting impression. The repetitions and recurrences of this auditory transformation could impact one's chronoception and chronology. The experience is imbued with a sense of enchantment, as if time itself were subject to the magic woven within the wind's cadence.

The piece considers spatial impulse responses of the concert hall as an integral component of the piece—a constructive element that offers a shift in perspective. Through this, we can have subtle spatial resonances naturally, while the performer creating a sound mass upon the sustained/bouncing spatial reflection. In other words, utilizing the natural reverberations and reflections of the space to enhance the sonic experience. Instead of merely viewing the concert hall as a passive backdrop for the performance, it becomes an active participant—an instrument in its own right, and with its own unique characteristic feature. For instance, certain sounds can interact with the acoustic properties of the concert hall, creating distinct layers of reverberation and resonance, adding depth and complexity to the musical texture and perception of an auditory experience.