1 / Pax Preludes I / 3:17
2 / Pax Preludes II / 2:43
3 / Pax Preludes III / 4:09
4 / Pax Preludes IV / 4:59
5 / Pax Preludes V / 3:45
6 / Pax Preludes VI / 3:32
7 / Pax Preludes VII / 4:27
8 / Pax Preludes VIII / 4:45
9 / Pax Preludes IX / 5:33
10 / Pax Preludes X / 4:56
11 / Pax Preludes XI / 3:15
12 / Pax Preludes XII / 3:46
13 / Pax Preludes XIII / 4:26
14 / Mariposa Liviana / 13:56

A misty Japanese landscape… haikus; concentrated, yet transparent, like calligraphy…

A structure of ebony and ivory, a spiraling slow-motion…

This is not to be hurried, not to be forced, but to let happen, let flow, let move in a natural direction, like the Lapland streams flowing down from the glaciers up above, between the snowy summits, always finding the natural way down to the meandering river in the valley.

I don’t say that these sparse keyboard locations (like birds settling on little rocks out in the sea) bring on exactly the same atmospheres as some of the pieces by Morton Feldman – but the analogy is self-evident: the notes that sort of just trickle slowly, one after the other, forming, not necessarily a melody, but… a row of notes… Yes, these pieces constitute – trigger – a certain feeling of restfulness, of the northern mountains, of the way your body feels after a long day’s trek across rough terrain, through fords and up steep climbs; the way the body feels as you sit down, gulping the glacier water, mineral rich and tasty, and the warmth and tiredness flows through your anatomy.


It takes a lot of human experience, human maturity – and intuition – to compose, play… and listen to these pieces. They are true gems; water drops on spider webs in low sunlight through the woods.

I’ll say no more. I’ll just listen… listen…


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