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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.
Already with the first chords of the piece, the listener may recognise that repertoire of acoustic anecdotes which is readily dissociable from the illustration of moving pictures. But the relationship of this music with the representation of disturbing Situations – which are only vaguely, rather than precisely, etched in the listener's memory – permits a collage-like treatment of various film scenes. And thus, from dramatic situations of disparate origin, a particular, renovated mental image can be created.