In the Hands-on modus operandi one composer works in intense interaction with the Mutu Ensemble in order to:

  • Obtain material that matches the player’s abilities (organic to them) and/or different than if he/she’d compose on his/her own
  • Transmit his/her concept and its translation to music
  • Compose in situ (as choreographers do)

The final outcome may encompass from the most fixed to the most open performance (comprovisation: improvisation with some guidance), provided the composer works in collaboration with the ensemble intensively enough for it to deeply embody the composer’s criteria of decision making. So this dense and intimate manner of working may lead to regular notation scores, graphic scores, only some fragments notated, internal cuing and signaling (such as Walter Thompson’s Sound Painting or Butch Morris’ Conduction), no score at all (previously hard worked comprovisation), etc.

Such an intense and proactive contact with the composer’s compositional process results in an exceptionally unique sonority for each piece.