1. As I Passes Bye   8:15

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2. In the Fullness of Time  7:25

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3. Surrender   6:45

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4. Gone   12:30

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5. The flow of things (a simple song of thanks)   6:45

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6. And then it was Simple   6:15

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7. Lost in Transit   7:35

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8. Icon   15:00

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9. and so It goes...   10:10

 

Writing for the bare minimum of instruments can sometimes force one to find the inner raw maximum of ones emotional/musical creativity and expression…, and, making no apologies for the counter-cultural position I take against certain prevailing trends in contemporary music; emotion, feeling and intuition is what I think it is all about and even more so if, as the composer, one then is bold enough to get up on the stage to perform it, and, emotionally naked, take responsibility for ones work in front of an audience!

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Reflections on Life, Death, and Transience has now become a significant performance project in its own right, as Robert Harris and I have started performing sometimes with poet Gerald Frape. It is an almost ritual setting, which, including the readings of poetry, creates a magic and intimate space, punctuated only by the silvery sound of the Ting-cha (finger cymbal)

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It's been performed many times; at the Sydney Conservatorium of Music, a regional tour of NSW ending in Queensland, and performances in both France, the Netherlands and Portugal  in 2014

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They are a strange set of works, -sketched, composed, and scattered over many decades of my life, which now seem to make sense; as random, though ongoing reflections on an emotional level, on some of those ‘topics’ that underlie, in one form or another, much of our conscious activity and concerns, that is, life, death and transience.

 

To come back to these works after so many years makes them, for me, even more meaningful as, (to paraphrase Paracelsus) in attempting to “cross the river” a second time, one notices that neither the river, nor ones self are the same.

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I have at various times wanted to complete these works and develop them into some sort of unified set, (thinking of, or justifying them as ‘pedagogical’, that is, music for kids). But, not ever having had the time, or any real world reason to do so, I never quite got around to it. (The last time I tried was in 2008). Last week however, I received a strange request through E-mail – “Dear mister Crivici Searching for music to play with my string quartet, (Sante Quartet) and partner Matthijs (viola) I found your website and listen to a couple of pieces which I thought were very nice…” (4th April 2012)

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Strange in that someone was interested in my music, from Switzerland even, but almost stranger still, that there were people still interested in string duos, in and of themselves. We entered into a deep and warm communication; life, and the subtleties of life as musicians and creators… So, now complete, I have to thank Sophia de Jong for providing me with a reason to finish these works and send them off into the world.