It may sound strange this work of noises, but if you want to get a true and direct introduction to the compositional world of Jürg Frey
this is the work to listen to [repeatedly] at low to normal volume. Just letting the sounds be. There’s enough information on the composer
and on this work to help you on the way. / sijme storm
During a three month stay in Berlin from October to December 1997, the Swiss composer Jürg Frey made field recordings in a park. He recorded distant environmental sounds by setting a microphone in the middle of the park, to collect various sounds—traffic noises, town noises, rumbles—any kinds of distant sounds which reached the center of the park via space. His microphones also picked up some closer sounds occurring in the park. Later he composed three electronic tape pieces in a series, l’âme est sans retenue I—III, in 1998—2000, using these field recordings as the source material. All three compositions have a similar minimal structure in which continuous linear stretches of sounds (of field recordings) and stretches of silence—all with changing lengths—alternatingly fade in and out.
Introduction to the the three compositions by Yuko Zama
Here is the essay by Yuko Zama on the Frey compositions