About the creation

Musical Notes are symbols, just as figures, and the note C has special significance among them : it occupies the central position on the keyboard, it is the starting point for the major-minor tonal system, and graphically provides a pivot: For these reasons, the note C has been chosen as starting note, centre and ending point of the present composition, and it also links the seven variations together. The composer regards all other notes as if they were variants of C. The seven variations have no defined basic melodic subject. Sounds are organized as motives grouped together in the way of musical gestures - changing from variation to variation. The kaleidoscopic texture brings to mind the melodic patterns of Bible cantillation and the way how they are composed and otganised in a preconceived formal texture. C is also exploited in its various pitches, as a tonal phenomenon as such. As it takes longer to recognise or identify a low sound with its sloe vibrations, the lower notes are given an extended length of sound. When the music centres round C in the middle register, the speed is accelerated, while in the higher registers the notes are sounded in fast movement. Manifold are the inter-relations between vibration and speed, rhythm and tempo, dynamics and colours. These relations can easily be expressed by way of algebraic or geometrical formulas which are not unlike musical notation. It has been the composer's urge and creative pleasure to improvise and seek form on the basis of all the musical, mathematical, expressive and irrational elements involved, starting from and always returning to the pivotal C.