The colours of this numberless clock face change depending on the time of day and weather conditions, rarely monochrome, but almost always as a dynamic progression of an entire colour spectrum.

Two churches in the immediate vicinity of my apartment shape my everyday life with their loud bell ringing – whether I like it or not. Last year, as I sat on my balcony, I noticed that the Bullinger Church was bathed in a bright orange glow. To my surprise, I discovered that the church tower's clock face had been replaced by an iridescent disc – a public art project by Olga Titus entitled Die Zeit im Wandel (Engl. Time in Flux). The colours of this numberless clock face change depending on the time of day and weather conditions, rarely monochrome, but almost always as a dynamic progression of an entire colour spectrum.

My engagement with this fascinating work has changed my perception of the ubiquitous ringing and allowed me to reinterpret it. The acoustic signal with a religious history became a potential for my own ever-new listening perspectives. I made field recordings, analysed them and finally integrated the partials of their wonderfully inharmonic spectra into the development of my harmony. At the same time, they serve as a sonic model that permeates the entire work – partly in real form, for example as a cowbell, partly as a musical metaphor, that is, as imagined, composed bell sounds. The synthesiser sounds play a special role here. Although they are triggered by the drums, they form an instrument in their own right. That instrument picks up impulses from the other instruments, lengthens their resonance or creates the structural basis in which the instrumental sound can unfold. For me, these sounds are directly related to Olga Titus's work. In their spectromorphologies, I discover numerous musical correspondences to the properties of the clock face. A dialogue develops between imaginary and real bells, between human and synthetic gestures and the music, as well as references to my surroundings.

mornings become yellow ringing blue circles was commissioned by the Dissolution Ensemble. I am very grateful for the enriching collaboration, both personally and musically, in the development of this composition.