FIRST PLAY MOZART is no longer written using the “rhythm composition” technique (like my other solo pieces since 1976). For a long time, I have been concerned with the topic of repetition within the questions of context: repetition as “scattered”, not as forming form and coherence, but rather as a means of building up distances, even strangeness.

In order to follow my title and at the same time entice you to listen to my piece imaginatively, I would like to place the beginning of W. A. ​​Mozart’s Figaro Overture here instead of a direct introduction:

1. The irregular number of bars in this phrase results from the regular doubling of the 3 beats: 1 + 2 + 4 bars (∑ = 7!)
2. Each start of a thrust follows directly on from the end of the previous one. This makes the distance length even more noticeable.
3. The figure structure shows the system of repetition and routing in its own modification:

I: a II: bba III: bc bc de

a disappears after 3 bars; 2 x b in II becomes 2 x b c in III.

In the 2nd thrust a is moved to the end position, in III at the end b c and a disappear; Although d is the Krebs inversion of b (bar 5), e is completely new (even the best orchestras always have technical and musical difficulties at this point).

4. This makes another interpretation possible. Since there are only two things that remain the same, namely the regular succession of eighths and a quarter, a in m. 3 only appears to be a repetition of a from m. 1, a deception that is explicitly directed against the context. Rather, in the proportion 1: 3: 6, we reach increasingly longer eighth-note stretches, all three of which begin on beat 1 and end with a quarter note. But this final quarter can hardly be seen as an emphatic repetition.

Isn’t it wonderful – so many ways to hear!!

(NA Huber)