I (Aphorismus) – II (Monolog) – III – IV (Intermezzo) -
V (Monolog) – VI (Aphorismus) – VII – Rêve -
VIII – Souvenir – IX (Intermezzo) – X (Aphorismus) -
XI (Déja-vu) – XII (Monolog) – XIII (Aphorismus) -
XIV (Intermezzo) – XV (Monolog) – XVI Cauchemar

Publisher: Ms.

Duration: ca. 20′

FP: Nov 21, 1998, Dresden (ensemble courage)

Radio broadcast:BR 18.2.2002


This quartet underlies the idea of nesting four cycles, differing in tempo, character and structuring. Every cycle involves the same constituents: a central movement, a solo-instrument’s monologue, an aphorism, combining the piece’s core in an extremely condensed way, and an intermezzo, choosing a duo or trio instrumentation out of the quartet. Resulting out of the nested order of the cycle’s movements, the formal action is shifted to two levels.

The ‘one-way street’ of listening is opposed to a ‘labyrinth’ of bouncing between the cycles. Herein, the constantly accelerating central movements form some kind of compendium. Linked to the precisely, even massively shaped third movement (the only one without a subtitle), the central movements deal with different levels of unconsciousness, whereupon an increasing trepidation of characters can not be hidden in the course of the movements. While Rêve is still of an tenderly floating audibility, Souvenir already changes from a complex, coloured mood to one of brutal remembering, catching up with the present. Déjà vu makes the listener lose orientation by citation frazzles of now and then. In addition, the final and longest movement Cauchemar (nightmare) degrades the quartet into its four single players, repeating their extremely expanded monologues each in their own tempo.