“The new BIG STORIES are all told by science, their scope is vast, and their telling has only begun relatively recently. We are daily getting updates on answers to all the ancient basic questions of life that inspired human art, cultures, and religions for millennia, and we are getting verifiable answers this time. Most important is perhaps that we are also facing completely new questions.

It is high time the old myths and beliefs are abandoned and replaced by contemporary, that is to say: scientific sources of information, imagination, and inspiration. The vast field of modern science is far more complex, has a verifiable and direct relation to reality, and it offers a far greater abundance of possible stories and references for artists in all disciplines than any older belief or myth system, however poetic, could ever come up with[1].

In our times we need new and innovative operas and symphonies, whether electronically or no; let these forget the simpler stories of our past and use these new narrative sources of our present and future for reference and inspiration.”

–Oscar van Dillen

Van Dillen composes the method of composition as much as he composes the music itself. There is a double layer of composition here, leading to a way of working adapted to each composition: a good process yields the best possible result at all times. It is a method, not a system.
As a logical consequence, a lot of attention is spent on the way of working, and the method of creation itself is an essential focus, next to the actual result. In the completion of a work a variety of professional skills are needed. A blend of skills comes into play: there are sound design and electronic skills along with knowing repertoire and music history, knowledge of styles globally (traditional, classical, jazz, world music and pop), and finally instrumental and musical theoretical knowledge are needed. Sometimes such processes build upon one another sequentially, as is the case in the music of the Alkali Earth Metal Elements: gradually a way of working was discovered which was then developed along with the compositions created.

The music of Beryllium is a free pantonal polyphony of registers rather than of pitches or linear melodies. Registers used include the extremes, and extend far beyond the instrumentally feasible – a true electronic music therefore. One can clearly discern the references to outer space.
Whereas the music of Calcium (an important organic chemical component) is very much a musica humana instrumentalis by virtue of its registers and sounds, Beryllium (not part of vital organic chemistry) is represented by an opposite musical approach, much more abstract, and not resembling human instrumental music at all.
With the extensive presence of a variety of musical events in extreme registers, both high and low (the composer used 9 such distinct registers xtreme hi – very hi – hi – hi mid – mid – lo mid – lo – very lo – xtreme lo, the outer 4 of which are not found in instrumental music), in a way this music represents the emancipation of timbre to tone.

The meaning of the term electronic music has changed dramatically since modern composers started to work with electronic equipment in radio studios after the second world war. In the 50’s and 60’s of the 20th century it meant mostly avant-garde esthetics by an elite group of mostly male composers making the headlines for this at the time niche medium. Today the term changed meaning but at the same time its history is in the process of being rewritten as more and more female composers are being credited for having played a defining role in the development of the medium. In 2021 the acclaimed documentary film called Sisters with Transistors was released, it demonstrated this process for a larger than specialist audience. One can also conclude that on the whole and over time the term electronic music defines a medium, not a style.

A reflection of and on the volatile basic nature of the element Phosphorus can be found in the sparkling and resonant distorted sounds used overall. In all three parts a variety of rhythmic elements arise and decay. In view of the overall presence of the complete spectrum of sound, this album comes close to being a kind of sculpted noise.
This has been achieved in two ways: by sculpting noise from various sources (white, pink, brown) into resonances, and by sculpting and distorting resonances and sounds into noisiness. Both latest and more traditional electronic modular technologies have been used to achieve this.
Among the inspirations for this album have been works such as Sisyphus by Pink Floyd (which was on the very first record the composer ever bought in his life), Free Form Guitar by Chicago, and the overall sound explorations of many of the later Jimi Hendrix solos. Van Dillen found works such as these to capture best the basic nature of the character of the element Phosphorus in sound.