what do you do, if you work with just intonation and wish to write a piece for organ?
you have to deal with the relation between equally tempered and over- or undertonal (just) intonation.
2001 i had several opportunities to make a study of some wonderful instruments.
this eventually put me on the path towards this composition.
 
in this piece only those frequencies of the organ sound that have close to whole-numbered ratios
(+/- 6 cents) to a fundamental (in this case C’ at about 32 Hz).
because the frequencies are never perfectly tuned - a result of the organ’s tempered tuning - more or less strong beatings and frictions emerge, that rhythmically and timbrally shape the inner life of the sounds.
 
a realisation of this piece strongly depends on the disposition of the instrument and the performance space.
the version at hand corresponds approximately to the first performance by eva-maria houben at
st. suitbertus church, dortmund october 3, 2003.
 
for this cd i tried to record the organ in such a way that the playback, instead of reproducing the church environment, projects the instrument into the listener’s space. (André O. Möller)