Classical music is an art form with a deep-rooted concept of hierarchy. From the free-form musical ensembles of the Renaissance to the civil-service-like structure of contemporary orchestras, music has come a long way towards becoming a structure of “masters” (maestros or musical directors) and “servants” (the tutti musicians). Even though these hierarchies are transcended at the best of times by the mutual desire to create an extraordinary musical experience, the many #metoo and power abuse scandals in the classical music world show that these structures also create many problems. 

The traditional solo “concerto” is an interesting hybrid of this concept. We know that these concertos were originally conducted by the soloists themselves, but in modern performance practice there are often in fact two masters: one who “dominates” the soloist (the conductor) and the soloist who “dominates” the ensemble. “Who wins?” is a question many listeners sometimes ask themselves. Music history is full of droll anecdotes about soloists somehow competing with conductors. 

As a composer, I have long been interested in exploring this interesting dichotomy in a playful way. Percussion, like no other instrument, has the ability to give precise “commands.” But will the ensemble respond in a way the soloist expects? Or in a completely different way? My piece therefore has two sections – one that explores the “master” side of the soloist, and another that also makes him the “servant.” Naturally, neither of these roles should be set in stone, and for me they only exist in a virtual “wild space” of music creation. In the real world they would have to be constantly renegotiated in a hopefully free world. 

Moritz Eggert