Presentness consists of five solos and one duo composition.
Composing for one instrument is both permissive and restrictive. The contrasts, counterpoints and form characters are not possible by setting instruments or instrument groups against one another or completing each other. The contrasts and counterpoints – if needed – have to be accoplished differently.
The form ideas of the compositions on this CD are either processes, movements of music need each other, or are seemingly independent.
In the1980s compositions Courbures (1989) and Exalté (1986/94) gestures, shapes and fragments follow each other decisively. Items of music exist in a certain order for reason. Latter music is there due to the music before it. Cause-and-effect?
In the compositions, then when A-go (2022) Animal II (2019/20) and 7 Haiku gestures movements and fragments just follow each other without any seemingly obvious explanations. They just exist, they surprise, they just are. The listener might have a hunch why, but the music does not explain its existence.
Tintinnio II (2001/22) and X three (2003/22) are compositions where both basic form principles are connected. The first versions of both works were composed circa 20 years ago. The new versions are shorter, more abstract and maybe more surprising than the originals.