With obsession and fury. Those are the first indications written in the music, and instead of being an opening that will calm down later, the music turns like a helix as it becomes tighter and heavier, more obsessed and more furious, like a descent into Dante’s circles of Hell. Passages from one circle to the other have rhythmical relations, so as to have always a present past and an anticipated future, as visions of what just happened and what will occur. Rhythm and colour changes are in fact the most important elements of the piece, acting as a hypnotic movement vowed to induce a paradoxical state of very active trance.
Tulpa is a being that is created through spiritual powers, it comes from Tibetan manifestation or emanation. In David Lynch’s Twin Peaks, it is used to name the double of a person, and it is supposed to have autonomous will and has some relation with the mysterious Doppelgänger in Europe.
The music plays with this doubling effect on many levels: heterophony of similar lines producing a blurred line, talea-like rhythmical repetition games, diffraction of the sound through timbre and sound colours, and so forth.
The intensity of the music’s obsessive trip gets finally dissolved into a beautiful, yet still distorted, melody, paraphrased from Mozart’s famous quintet for the same formation: clarinet and string quartet. This masterpiece was one of the favourite pieces of Peter Minten, to whom this music is dedicated.