The task of finding musical expressions for the concept of “renewable energies” led me to an exploration of specific states of motion, as observed in various methods of ecological energy generation. This brought my attention to the three main and currently significant devices for power generation: wind turbines, solar panels, and hydropower plants. All of them rely on the utilization of specific forces, which also play a dominant role in music, perhaps even repre-senting some of the fundamental conditions for classical form: cyclic motion, static effects, and the creation of pressure gradients.

Thus, the first piece reflects the idea of a wind farm: with individual motifs that, mirroring the motion pattern of wheels, cyclically repeat, overlap, and form into ever-new combinations until they ultimately collapse fiercely in two short fortissimo passages. The second piece, in turn, evolves from static and initially noisy soundscapes over which, akin to reflections of light, punctual individual events “dance.” These events then condense into a large crescendo, dur-ing which forces accumulate, and pressure builds up, finally discharging in a passage of ve-hement rhythm. In the end, cyclically conceived, the calm statics of the initial state are again achieved.

In addition to this programmatic approach, another reference to the concept of “energy bal-ance” is very important to me – a fundamental aspect in all my compositions: the commitment to aesthetic sustainability, essentially as a counterposition to the prevalent demand for re-newal in established ideologies of contemporary music. With the often reflexive and clichéd call for constant progress and “innovation”, a large part of advanced art production today, in my view, represents a reflection of our short-lived throwaway society. In contrast, I seek per-sonal expression more in the recombination of tried and tested artistic means, without com-pletely renouncing the achievements of contemporary sound effects.