SNOW, REPETITION AND OBLIVION: ECOLOGICAL DIMENSIONS IN BEAT FURRER'S RECENT WORK

The natural world is a frequent touchstone for the Swiss-born Austrian composer Beat Furrer. In the operatic work Violetter Schnee (2019), for instance, images of snow and coldness take on a central role. Other works, such as Wüstenbuch (2009) and the Spazio Immergente triptych (2015), refer more indirectly to notions of barren landscapes and ecological excess. At the basis of all these works are sentiments of slippage and loss, of far-reaching melancholia and an unrepairable detachment from reality. The composer's multi-layered use of repetition further underlines these sentiments and aids in the creation of constantly shifting sonic landscapes. This article argues that the recurrent use of nature imagery in Furrer's work signposts a latent ecological dimension in his oeuvre. In doing so, the article focuses on the slipperiness of musical repetition, and more particularly on the heavily destabilising power of the loop. Taking Violetter Schnee as the starting point for inquiry, and using Timothy Morton's philosophical project of ‘dark ecology’ as a heuristic framework, the article reads Furrer's recent work against the background of ecological critique.