"Only if one has imagined the to be played not only in entirety but also regards out of the innermost part the time as come, the musical action follows; under circumstances this can last very long. - Out of this meditation like attitude the text has to be whispered."
The beginning of my quartet I imagined like a strange unfurnished room in which one enters and becomes only gradually conscious its characteristics; which the inside makes empty and and lets turn the attention towards oneself.
The text used for it (a nature image with which inside and outside no more are to be differentiated) means thus nothing atmospheric, but shall support this thought also verbally (the poem itself already opens a wide space).
The entire further process of the piece does not only renounce the spoken word, but also each conscious continued composing of the poem. I rely on the fact that the missing structural connection, which is quasi a "prohibition" of the "new music", arises as a result of the relation forces of language and music and not at least also of the light instrumentation by itself.