Since I am boiling mad, I'll let off steam,
For if I do, I know full well that they
Who say I'm full of hot air, it would seem,
Will, by my spewing forth, know it's no play.
And yet I never sputter much, I say,
Unless I think some spouting off I need;

And the chalor of Haspre's music manifests an analogous bravura in the domain of music with its metric and polyphonic intricacy. Perhaps my adoption of the work aspires towards an analogous claiming of magis subtiliter; adaptations of ancient music are a regular aspect of my corpus, from the exploration of isorhythm in Quintet l'homme armé (in which Moderntechnics occlude the source material) to Etude on F. 113, Torino J.II.9 ('Pymalion qui moult subtilz estoit'), a more literal re-presentation of a subtilior source. Se je fume adventurously, even exponentially, expands the claims of (in the play of rational and irrational meters, intricate counterpoint, and an expanded palette of harmonic color) to encompass the historical, making all this technicity as the mechanic of a generative hermeneutics, to manifest within the domain of music the simultaneity of the non-simultaneous, theorized by Weber and explored more fully by Koselleck and Hartog. All in all, a smoky thought, earnest in its fussiness, and bold in its severity.

My temper is a fiery one, indeed;
So if I seethe with anger, don't despair
My scalding wit shall never cause one care.
It's fine to fume, and there is no harm done,
If you can get steamed up yet burn no one.

The work was premiered by DuoKrom (Inés Voglar Belgique and Molly Barth) on 11 October 2024 in Eugene Oregon, and then performed again at Chatter PDX on 13 Oct. The translations here were done by Sharon D. King, shared with permission from Comitatus, Journal of Medieval and Renaissance Studies.