How can music speak of farewell? How can music speak at all? Is music able such to do without reference to the traditional? Are there primal figures and topoi of the expression of deep feelings? Are those, if they exist, still formable and transportable? And to what extent is everyone listening only to himself? Are we allowed to deal with such objects in the 21st century without wanting to change the musical material in a fundamental way (would this still work - perceivable - at all?)? May one let in since long decrypted gestures of longing and the immediacy of screaming? Where is the border between being touched and being rejected? And in what way does all this affect the ear of the inexperienced and the knowledgeable listener?
ADAGIO expresses itself unconditionally in the overpressure of the interior of such questions. In a rondeau-like form, the almost half-hour piece alternates between powerful-eruptive - sometimes even catastrophic - and from time to time closer, fragile-espressive parts, where the central interval of the fourth as well as clearly defined motifs connect the different sections. A game of distance and closeness, an attempt to continue great slow movements, an effort for that one more time last time. Then conciliated and peaceful a contrasty bracketed ends, like when we meet again after a long and difficult separation, in the longing that the world is healed again.