Koorean Air ( for violin and computer): Recorded in the Cosmo Rodewald Concert Hall

To write Koorean Air in collaboration with virtuoso violinist Darragh Morgan was very fun and rewarding. The nature of the methodology I employed in the compositional process dissolved the differences between composer and performer to the point that I no longer consider this work to be my piece but rather his piece or at least, let us say, our piece. However, I am glad that he is the one performing it, because I would not know what to do his £80,000 violin in my hands... In the last few years, I seem to be less and less interested in what I think and more and more in what other people think, especially when we are exploring sound and gesture. It is like making a sonic documentary film of a performer. As a result, I have composed a number of pieces with the intention to feature (if not steal) the DNA of virtuoso performers; e.g. Esther Lamneck, Elisabeth McNutt, Kontakte Grup de Percussio and now Darragh Morgan, to go beyond my sonic creativity, by challenging their aural thinking through the process. On a different matter, I presume that a piece for solo instrument is just that, a solo instrumental work. For years I wondered why when we combine solo instruments with electronics, in most cases, the end result becomes astronomical, hyper-loud and expansive, compared to the natural force of the instrument. In Koorean Air, I explored a process of electronic de-hyper- instrumentalisation (should this word exist!). I hope audiences will experience the electronic counterpoint as simply a dialogue between the violin and its true mirror, which is the performer's fingerprints.