Shri Yantra

Together with Jorrit Tamminga, Wim Henderickx created an electronic composition entitled SHRI YANTRA. For the musical structure of this work, Wim Henderickx drew on the Buddhist Shri Yantra, an abstract geometric figure that serves as a guide for meditation and the development of consciousness. The work stems from the composition for music theatre Void (Sunyata) for five singers, ensemble and electronics. As basic material for this electronic work, the composer used the sound of stones, wood, water, noise and a sample of the Tibetan cymbal. The spectral analysis of this cymbal provided the material for the sine tones at the end of the work. The form is determined by the geometric figures of the Shri Yantra. The spatialisation also follows these figures. The temporal structure of the various parts of this work was calculated precisely according to the golden ratio. The five elements of nature form the basis of the sound material: water, fire, air, earth and ether. Prologue Water (circle) Fire (triangle) Air (lotus) Earth (square) Akasha (bindu) Epilogue In the Prologue, the sound material is presented as a kind of big bang. In Water, the sound rotates like a spiral. In Fire, the greatest energy prevails, with spatialisation occurring from the three corners of the space. In Air, a stillness occurs. The rustling sounds suggest a higher form of consciousness. Earth sounds static, both in terms of the sound material (stones) and spatialisation, inspired by the four cosmic doors of the geometric figure Shri Yantra. The cosmic nature of Akasha takes shape through the extremely high and low tones. In the Epilogue, we hear the primal sound from the Prologue again, now transcended to higher consciousness (high register).