Streifen is a composition for large orchestra, through which it is intended to investigate some aspects of the sound and seek new sounds outside the temperate system and the tonality, even with the aid of microtonality.
This relocation creates new sounds, with the chords melting and re- densifying into new sound elements outside the tonality and temperament.
Normally, we perceive essentially two aspects of the musical phenomenon, which we could define orthogonal to each other.
On the one hand, time structures the sound in what we perceive with rhythm (or absence of it); the continuous comparison with a hypothetical ’grid’ constitutes the temporal structure that we define rhythm.
This classic conception of time has recently been extended: Grisey, for example, in 1996 in Vortex Temporum, analyzes what are aspects and nuances of the temporal aspect for him: the skeleton of time (the temporal division realized by the composer to give form to the sounds), the flesh of time (the differences between the sounds, modulated according to a pre-audibility criterion according to which the listener should foresee what is about to happen), the skin of time (which examines a kind of temporal perspective such in the listener’s memory the past musical events are compressed compared to those present).
The other important aspect is that concerning the pitch of the sounds. In every era there are certain conceptions about the choice of pitch to be used, favoring a few heights at the expense of others.
In Streifen bands of sounds compress and expand in order to explore frequencies and sounds that are not normally used, or in any case outside the usual grids established by the tonality and the temperate system.