"Improvisation and composition as forcefield. The conundrum remains: how can one combine these two approaches to musical forming without one or the other being compromised or diluted?"

"The work streams from one movement to the next through a flowing texture of sound materials and harmonies. The musical material is constructed with a focus on subtle nuances and poetic textures that form lyrical gestures throughout the work. Melodies are generated just as much by sounds, gestures and nuances as by pitched lyrical material." Anna Thorvaldsdottir

Edvard Munch once said: "Painting means seeing." Toshio Hosokawa knows: "We will hear what we have seen."

"Fury means rage. An explosion of rage. Endeavouring to release an extreme energy. In a single breath." Rebecca Saunders

Monads. Labyrinths. A puzzle of planned confusion.

Listen to the heartbeat of the earth. Get to the bottom of the mystery of existence. Sounds of reflection. Only after hearing and seeing have passed will we understand.

"I think that everyone, at least once in his or her life, has experienced anticipatory or telepathic perceptions. My trilogy Etheric Blueprint (2002–2006) is an observation of a possible cause of such a sensation: an invisible energy that surrounds us, connecting us with nature and space." Misato Mochizuki

The Italian-born artist closes the circle of history, tradition and present at the moment of feeling. Listening to Verunelli's music means learning to feel yourself.

Beats. Very fast and dense phases of great intensity.

The philosopher Blaise Pascal once said that nothing that is already known should be redefined. Franck Bedrossian does it. And rightly so! Slightly shifted perspectives between free jazz and virtuosity reveal the view of abysses and paradises.

The basic idea of the piece is the instrumental replication of recorded landscape sounds, in particular excerpts from Bill Fontana's recordings from Hainburger Au, which he made for ORF in the 90s (released on the CD "Virtual Nature").

Strindberg's casual, haphazard approach to the white canvas, the improvising act of painting (reinterpreting the self-created, leaving the result open) became the trigger for a “free” way of working as possible. In concrete terms this means: No plans, but "composing" from the very first minute, lack of concept as a concept.

The piece is composed in 2007 for Pythian games festival in St.-Petersburg. The material is balancing between informational overdensity and its absence, virtuosity and statics, creating a kind of "dense absence" and "virtuoso statics". In a way it corresponds to the qualities of white noise.