The piece is divided into two big blocks. The materials of the second half were mainly worked out in the fall of 2003. The rest was composed more recently. The connecting element in this long working process consists of the use of one particular harmony, a harmony which has been recurring frequently in my work over the last few years. This principle harmony, which can’t be missed throughout the piece, also provides all the important intervals. These intervals are used not only as a motor for development in the piano writing but also as some of the main material from which the music for the other instruments is derived. In the overall development of the work, the percussion follows a different role. Starting as accompaniment for the piano and mediator between the soloist and the rest of the ensemble, it gradually grows out of this tedious and expected role to acquire an independent role for itself in the second half of the piece.
The form loosely follows a Rondo form and there are traces of semi-written-out improvisations, fragmented writing and a search for specific instrumental combinations; whether a duet, a trio, a quartet or tutti. At this point, I would also like to extend my gratitude to the MacDowell colony, where the fundamentals of this composition were researched and crafted.