Dream Exchanges – Fear of Music, Trust in Twelve once more draws on linguistic and musical elements and is based on collaborations in its realisation phases. Written for a twelve-member youth choir, the piece was performed by Canzonetta and some of the texts were written by the choir members themselves. The music for the long random poem was composed by Paul Brody.
The piece was constructed partly in the process of the performance based on pre-written compositional – linguistic and musical – elements, along with given rules and instructions. The fnal content and structure of the piece was determined by the innermost personal world of the performers on the one hand, and by chance placed on a mathematical basis on the other.
In the prose part of the piece, titled "Dream Exchanges", in roughly two-minute rounds, each member of the choir read out the dream of another choir member, the note of which was randomly assigned to them by digital redistribution. The content of this part was thus derived from absolutely personal inner psyches, which then became shared, or rather exchanged, worlds through identity exchanges.
The musical part of the piece is titled "Fear of Music, Trust in Twelve", and it comprises the performance of a minimal and repetitive composition, a song made up of 144 lines. Each of the two-word lines of the long random lyrics is one of the 144 possible combinations of pairing 2 sets of 12 words. Their order was also decided by an algorithm. The exhibition also includes the animated version Fear of Music, Trust in Twelve – Random Lyrics, a site specific, kinetic video of exactly these combinations. The dedicated lyrics rearranger is available online to anyone, and each version can be downloaded individually: www.ndr.hu/fear_of_music.
In the background of the piece performed, the privilege of the machine to rewrite man's poem and even to detach the trace of the innermost psychic world of one person and transmit it to another at random, is thus defnitely asserted. The film installation’s footage is comprised by documentations of the studio recording sessions.
A live version of the piece will be performed at the opening of the exhibition. The openness of the structure allows each performer to convey a rearranged, new textual content.