About the title: tortured insistence. Twelve sections with specific pulse rates. The pitch reservoir includes: monotones, triads, four (five) tones. But a polyphonic movement never appears. Also no melody with accompaniment (the typical piano movement), no figuration or phrases. The task was rather: to achieve maximum differentiation within the sound from the minimal range of pitches through beats, oscillations, vibrato, tremolo and tone repetitions. These typical trembling, fluttering, iridescent individual sounds were aimed for (Schönberg’s timbre melody).

Harmonically, a certain static occurs because the events, the change in harmony, occur slowly and aperiodically. This is intended to negate any approach to a melody, but allows for an internal sound migration within the same tone. From the beginning to the end of the piece you have the impression of a journey from the lowest to the highest tone of the accordion. This progression from bottom to top does not take place in a straight line, but rather in stages, discontinuously, involving several layers of two- or three-tone sounds arranged next to each other.

(Adriana Hölszky)