There are many types of recess signs which use nearly all the material of a broken major triad and the cold sound of a synthetically generated. This acoustic signals, made by sound designers [sic!], with their all overlaying functionality sound however mostly without any musical content. Within concert events their internal poverty becomes particularly clear, because in direct neighbourhood to actually sounding music now an extreme contrast of tonal qualities can move into the consciousness.

18 Signale takes over the function of those recess signs for the duration of a symphony concert season in that the orchestra itself plays them. 18 one to two minute orchestra pieces call the audience through the open doors and the loudspeakers of the foyers into the hall. A functional music is intended in the best word sense, which creates, independently and differentiatedly formulated, a connection between the sounds of the everyday life and the large orchestra compositions of the more distant and closer past. The fact that thereby the usual concert progress is broken open partially, is also a desired side effect as that the originating distant orchestra sound may remind of traditioned moments at which the expression will had positioned certain instruments occasionally behind the stage.

18 Signale consists of 9 couples of pieces. Invisibly for the audience and so comparably with a radiophonic situation, the first part of each couple becomes performed before the first, the second part before the second concert half, so that both are to be heard from the foyers only in a diffuse way. When the listeners have come to their places, both parts are repeated, now naturally also visibility and exactly audibly, and each of the short compositions finally changes seamlessly into the actual point of program of the evening.

18 Signale, stamped by fanfares, shouting, announcement-like and signal-like gestures, renounces mostly chamber-musically transparent parts in favour of grabbing urgent, partly monolithic gestures in larger instrumentation and leads over and over again to a culmination point which leaves behind remotely sounding. The already named 9 couples, expressively, concisely, very various and, in the end, autonomous from the remaining concert program, spread at the same time two possibilities of a musical material. Both short pieces are corresponding in this manner and tie together therefore also both halves of every of 9 symphony concerts.