input is an electronic work which reverts the common remix process by providing the “remix” first, and then requires composers to backwards-engineer what they hear into “original” scores for ensemble. by collaborating with three composers (johannes k. hildebrandt, christian diemer & erik janson),  direct auditory comparison reveals surprising common traits in unlikely places and highlights differences between individual approaches. ambiguities of sound/score relations as well as emergent parallelisms and unexpected congruencies become part of the sensory and cognitive experience.

together with to trails, input is part of a group of works translating electronic music for human players of acoustic instruments. born from the idea of falsifying the assumption that electronic music is automatically subject to unlimited digital distribution, these works employ access as a formal parameter: in the case of input only the involved composers have access to the digital work at source level. it introduces direct comparability of individual approaches to orchestration and designs a complex transformational chain (cross-media collaboration, scores and ensemble composition as further stages of translation and as different layers of production time).

commissioned by weimarer frühjahrstage.

the first performance was on april 10, 2015 at weimarer frühjahrstage, weimar, germany.
also partially performed at donaueschingen upgrade, may 17, 2015, donaueschingen, germany (hildebrandt / janson versions).

conceived as an open work, input will receive further instantiations in the future. 180 degrees festival in sofia issued an open call to composition students and young professionals for new versions of input, which were performed in july 2016 by ensemble 180°. the winner of the competition (audience voting) was daniel chernov. further performed versions were entered by dimitar milev, adrian pavlov and lukas tobiassen