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wild thing, you make my heart sing
Jimy Hendrix, Monterey 1967
A cadencial figure in Chopins Nocturne Op. 37.1, first experience of „Piano Music“ in my early childhood, almost
synonym with the instrument ever since, a stereotype of introspection; the drums-set in the final measures of Jimmy Hendrix’
„wild thing“ live recording, a cymbal crash in unison with a bass-drum accent, eruption and focus at the same
time; a snare-drum figure on the edge of rhythm and roll: wild.thing is COUNTERPOINT – simultaneity of different musical
Gestalts.
These Gestalts are changing. They influence, violate, annihilate one another. And they are FILTERT, changed
from “outside”. They are amplified, distorted, transposed and cut, without regard to their internal structure
– until they have become only impulses without identity, without context, without meaning.
Free? Maybe SET FREE
to become figures, which are not predetermined by the contexts from which they derive, which set their own contexts, step
by step, every moment in a different way, developed only out of the sound itself, out of the now liberated, “wild”
material.
Hans Thomalla
Stanford, November 2003
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