In this composition, the composer strived for a similar experience of encountering an (musical) object. This quest led to a research-oriented approach towards the musical material – an approach in which the chosen musical material is employed as a singular object investigated several times throughout the time-continuum of the piece.
This interaction creates more tension and concentration through constant listening & cueing between musicians and this, in turn, introduces ‘the second dimension’ to the piece.
In other words, the musical material is regarded as a prism viewed from different angles and under different lightings. Hence, the musical material is not used as a departure point that would ‘lead somewhere’; an entity that needs to be ‘developed’, ‘processed’ and eventually ‘transformed’ into something else.