NOTES – The first movement of Op.6 typifies the rest of the work: It resembles a freely composed rondo, yet its chromatic outline (E–E♭–F–E–E↓–E♭–D–D♭–G), despite the numerous returns and transformations, eschews traditional motivic procedures. My focus has been to contrast these anchoring and memorable melodies with the discontinuities arising from temporal and rhythmic fragmentation, as well as quotations (Scelsi, Beethoven) and stylistic allusions presented as distorted, self-contained musical objects.

The music’s dimensions constantly oscillate between extremes: From cluster harmonic formations to tortured traditional cadences; from complex multi layered rhythmic motion to obsessive ostinato repetitions; from dizzyingly fast tempo acrobatics to slow and controlled movement. The work is in constant dialogue with its own materials, yet it alludes to the past as a means to forge new formal and expressive possibilities. This is characterized by a utopic desire of creating something that is both “timeless” and anonymous.