In November 1992, I watched TV: an approximately seven-year-old Turkish girl stood in front of the house in Mölln (Germany) that had been burnt down by right-wing extremists. She stared into the distance and answered to every nagging question reporters asked with "…Blumen legen…Blumen legen…" ("…laying flowers…laying flowers…").
These words and this picture left a strong impact on me and explain my adherence to four different tones that pervade and form the piece (eight bars of a Schubert-Impromptu that also pursued me, intervene too). Blumen legen is dedicated to the victims of Mölln.
translation: Gunilda Wörner