The Continuity series
The word Continuity in the title of each piece in this series emphasises both an overarching theme and an organising principle of the work as a whole - the continuity and fragmentation of musical space. This expresses the opposed duality of continuous and fragmented that occurs often, from our perception of time to the physics duality of light, which exhibits both wave-like (continuous) and particle-like (fragmented) behaviour. Given this commonality between the pieces, they are individual in their instrumentation and in the detail of their approach. They have the intention of defining and developing an original musical discourse where the continuous and fragmented become juxtaposed and the music is transformed through shades from one point to another at different rates and in different ways. Here, there is no polyphony in the traditional sense of harmony, but there is polyphony of gesture and movement as elements unfold in several dimensions simultaneously. The Continuities also investigate specific technical aspects of the performance techniques of both instrumental and electronic parts. In each of them, demands are placed on the performer to disassociate some elements of their performance behaviour from others, adding to the fragmentation, and these are transformed musically back together, forming a unity that is, from time to time, more and less continuous. This conflict, the juxtaposition of opposites, gives rise to tensions in each piece, which become evident in the virtuosity of the performers.

“Music is a way, and means, of thinking and a way of saying what I think – a form of philosophy in some ways I suppose. Music tells us who we are and it can change us. I cannot imagine the person I would be if I had not heard, for example, electronic music. To me, the most powerful music moves me to a new understanding, it’s something that I could not imagine.”

"Mr. Doornbusch’s work to the attention of a wider audience. There are not so many composers at work, even in the 21st century, even after the example of Xenakis, whose commitment to the technical possibilities afforded by contemporary technology is so closely matched by a compulsion to exploit to the full the expressive potential unleashed thereby." - Computer Music Journal