Pas de deux

My fascination with stereophonic movement shapes many of my works. Almost all of my orchestral pieces contain, to some extent, a structured, expressive movement of sound or sonic topography – to paraphrase Karlheinz Stockhausen. Furthermore, left–right motion reflects dialogue, the fundamental human interaction of call and response. With Pas de deux, I wish to elevate my stereo fascination to an even higher, even more obsessive level, and to merge the constant back-and-forth into a single continuous form, like an extended, slowly accelerating spinning dance.

I would like to highlight three defining aspects of the composition. First, a constant stream of 432 pulses per minute emanates from a single amplified double bass, placed centrally in the orchestral panorama next to the timpani. By using amplification and live electronics, this pulsation expands into an interwoven texture that is both harmonically rich and rhythmically enigmatic. In this sense, the double bass becomes both a drum machine and an analog synthesizer, providing a supportive acoustic backdrop. Second, one condition for this commission is that the orchestra must perform the work without a conductor. While the absence of conducting brings practical challenges, it allows for a flow of sound without visual structuring. This makes it possible for me to capture the ambiguity of the pulse and to redefine it in surprising ways through its various groupings – influencing both the structure and the emotional dynamics of the work.

Finally, it is important to me to guide the listeners through the complex sonic landscape in an act of deep listening, leading them to an affirmative closing statement. In this climax, the entire orchestra unites in a collective, racing heartbeat, culminating in a powerful ending.

By intertwining these elements, Pas de deux aims to create an immersive and emotional sonic experience that takes performers and listeners alike on a shared journey.
Mike Svoboda, 2025