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This piece is a typical example of Berio’s way of thinking as a composer; it is related to the Sequenze and their reworking into the Chemins. Its basis is "points on the curve to find …" (1974) for piano and 22 instruments, which Berio incorporated 15 years later in Concerto II in a broadened scope, thus realising a plan he had already had in mind when working on the earlier piece.
Although the work centres on the piano, it is not is not juxtaposed with the two ensembles; instead, it joins in a chamber-music relationship with them, playing together with soloists in both groups and mixing amongst instrumental layers.