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Rather as in Schönberg's Accompaniment to a cinematographic scene, the theme of this piano piece is the threat of unspoken fears and dangers. But in contrast to Schönberg's orchestral composition, which is written in the autonomous musical language of expressionism, the present piece uses only stereotyped formulae, drawn from the kind of commercial music familiar to every viewer. By deliberately rejecting a current “contemporary” style, I tried a different starting point for a problem that allows for contrasting solutions and realisations.