The procedure in this composition could be compared to the sequence of prints of one and the same picture that are created in a printing office. In that case the successive colours are applied in a series of printing actions. In the same way the various ‘layers’ in this score are added the one after the other, or are left out. All layers are of the same importance and serve alternately as main issue or side issue. Domination and giving way alternate, as do primary colours and secondary colours. Solo performed music and just being silent also alternate.
It must be clear that Incantatie IV is about a composition that is performed in an area between a fixed score and improvised music. The musician has not only to be active when notes are there or has to be silent when there are none. The multi-interpretational score (e.g. as to rhythm) indicates that each separate layer is susceptible to e.g. doubling or multi-layered unison, either as main colouring or secondary colouring.
SIMEON TEN HOLT