‘Mare Serenitatis’ means ‘Sea of Clarity’. The piece is like a large sonic sculpture. In simple gestural movements a network of sonic textures develops, reaching increasing stages of refinement and complexity.
Along with a couple of synthesized sounds, the material for 'Mare Serenitatis' mainly consists of two types of concrete sounds that happen to be used quite regularly in electronic music: birdsong (particularly blackbird) and thunder. 'Mare Serenitatis' however, does not deal with any literal representation of birds and thunderstorms. The natural sounds were used purely because of their sonic complexity and thus their potential to be moulded in many different ways. The bird and thunder sounds were processed by computer and, in interaction with the synthesized sounds, they were transformed into very lively yet very abstract sonic textures. In this way also, the fast and abrupt dynamism of the original bird and thunder sounds was changed into very ‘serene’ gestures and rich resonances.
Even though 'Mare Serenitatis' clearly consists of three main parts, the piece smoothly unfolds in one single flowing movement. The gestural movement of the piece is characterized by processes such as expansion and condensation, melting and solidification, and ascending and descending.
Mare Serenitatis was realized in 2000 in the composer’s studio.