I Recalled My Liberation

And Caught Myself Drifting
for speaker and piano
dedicated to Gabrijel Savic Ra

Matthew Lee Knowles
August 2011

q=85-100

      

My

                    

work con - sists

of

or - ga - ni - sing

  
   





   
  







soft and warm

mu

-

si - cal



sounds and



com



 
             
-

bi

-

nat - ions of let- ters



in - to

a

wi

-


-








 

der

 
con- text.




2

11

 

 
               
I

see al - most eve - ry - thing as

po - e - try.


   



   
  


21

   
mal or



 

 


   

con

-




-

-

              

i - ni

-

tion









         

 
cep

My def

   

tual which re - sults

  

   

as

the con - se

-

quence

of mu - sic

is

a

-

ny sound

how - e













a com- ple - ted in - struc





-

ver






 


of

-





  
     

     

  

mi - ni-


     

tion. This means, in

my mind,






I

3





 
                     

31

can be

in - struc



-

ted

to

think of

a sound and

  
   




   





41



    

which no- one


 

   


 
   



 

can

hear.

 

   

It

a

is

-

gree

   

   

by con- tem - pla - ting this sound

   
-

a

-

ble

I

     
am cre - a













think of

na- ture

as mu - sic, but

-

  

ting

mu - sic,








              
to

   

this is





   
not the case,





















na

   
-

ture is






4

     

51

sound, there

-




 
   


  
   



61

  

li - ti - cal,





  


   


  

 
 

fore

I dis - a

        
-

gree with John Cage that mu






I

do want to bring a

-

          

sic is

eve -



-


 


  

bout change, which is















I am not

     

 
in

-

ten - tion - al - ly po












    
one

ry - where.






           
but

   

of my



  
ma - ny che


-

rished



    

 

con - tra - dic - tions.

Pat -


















5

71

   
tern and

   

    

line

are


 

vi - tal

to my


work.





  










   







81

            
ble,con - crete


 

 


   


and con - cep -tual. I

like rhy

   
-

thm


 
Mu - si

    
-

    

cal pat - tern

ex- ists

   

in

two ways,















   

in my po - et - ry, through re - pe - tit

au - di

ion, al - li

-














te - ra

-

tion, re




-

ble and








       
-

 
   

  


-

in - au - di-



   

la - tion - ships

be -

6

91




 



               

tweenwords and


  

 


101












   

  
 


-


        
re- mo ving all

the o

-












-

trac-ting


  
 
             
cer- tain

words






  
ther

ex





ist - ing text, or

I see my - self as an ex- treme e - di- tor,





          
lar - ger pre-ex

syll - a - bles. In wri - ting

  


         

words, de- pen - ding




on your

at - ti - tude.





or

com - bi - na - tions of















 

words from a

           

In

wri - ting these texts I

of - ten











find

7

111

   
my

-

  
 

in






  

being, which

   

self


   

121

is

mun

-

dane

and

mo - no










   

i - deal set - ting for




   
 




   
think - ing





   
a







-

bout

   





   

a

   




   
an

 

-



to

-

   

nous

state










  

of



where the

piece


  
will











end

 

up.

 
I have









8

131

   

 

com - posed a


   

  
 

141

huge num

-

ber








    
men - tal pie - ces

 

of



 
  




   
 






   
of





graph-ica - lly no

-

   

ta - ted

  

and

sim

-


     

il

-

come














is un

-

pre







-

dic - ta

-

-





ly




                  
-

ar

   











where the out

   






mu- sic,







   

ble and will al

-

 

ex

 

-

pe - ri -














    

ways

be dif - fer




 





    
-

ent,









an

9

   

151

as - pect which









   

I

   

161

still

with





    
 






Bb




 




     

some







   








   




     

love been pre - sent.




    

  

I am cur - rent








un - cer -tain - ty I








     
-




mu - sic




















            
com - pose


 

ly wri - ting

      

ex - pe

-

ri - men - tal

      

of a

more




-

con

-

   


crete





















ly,















      
I write con

na - ture but

-

cep - tual









   
-

ly and










10

 

171

to

com - plete the









   

   
 

181






   


 
   

   
 



work,











for the
















        
more in- terp - ret - at - ions it











 











sim- ple rea




I

do use paint, as







-

son




the more









   






Bb

         

op - posed to






that













   

   

  

and

             
can have. When






ob - vio - us





the




ab - stract - ly,

        





 




    

tri - o I paint



C

ab - stract a



     

  

a - ny oth - er

ma - te -














11

191

   
ri

-

als

I



 
   




  
 

201





   

   
 



chil







-

pos





drens paints,






   

 









 

can






 C

pre - fer








 

   

 

-

si




bly









are



cheap,

-

-

mit





  

dif

-

fi

-

 

-

cult to

    

to







   

   

com





as they



-



can -



vas,

I















     

  
    

man - age and dry mes - si






























-

ly,

with

12

 

211



lots

of break







  
   
 






  

  




-


 

  
but I







 

ing and peel - ing.









poste,



   



219


  

  



be - lieve

 




   

  


      

I

make work be -




















   

the on - ly true

      
ans













cause I

-

have to: a



wer for













pop - u


-




lar



ri -








 


     

a

se - ri - ous

art




-

-



ist.