Tracing back to antiquity the conception of Rhapsody, coined by literature, is a long time already used rather pejorative, nevertheless partially wonderful compositions with this title are existing. However, this term seems to be long since occupied in another way, because firmed, found, genre-like forms have long been gone and with each new composition, the form is created individually new.
In what way can musical form be free or bonded? To what extent the unbonded requires the constructive? How much formed parts emerge motivic, energetically, gesturally from one another or stand facing each other? When does freedom turn over into arbitrariness, bondage into rigid? And how far the listening person creates formal relationships in and out of himself? Completion versus immediacy, solidification versus spontaneity, systematics versus association.
When passing through different expressive characters in Rapsodia appear fragile, barely perceptible beside expressive stepping out of itself. Figures which pervade the piece in new contexts and which are looking for instrumental approximations. The tentative, only gradually getting under way of the beginning is corresponding to the quasi experimenting, new linking reminder field, shortly before a final, that wants to end all former search then: a stream in which flowed in many brooks, a reciter, who arrived the end of his narration.