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"This is the only hypothesis. From these two constraints and with the aid of stochastics, I built an entire composition without admitting any other restrictions."
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    File: 1726721000233.jpeg (33.31 KB, 435x700,cover.jpeg)

     No.98

    Placeholder.

     No.99

    I'm afraid my favourite interpretation of Op. 111 is still Barenboim's spectralistic rendition at the vienna Palais Rasumofsky: https://inv.nadeko.net/watch?v=bYe27pJ2RBI
    I agree that this was extremely attached to his "strong personal style". It became slower and slower in some places.

    Give a recollection on Kretzschmar:
    > And at that word, Kretzschmar began to stutter violently; holdingon to its initial consonant, his tongue set up a kind of machine-gun fireagainst his palate, setting jaw and chin pulsing in sync, before theycame to rest in the vowel that allowed one to surmise the rest. But oncethe word had been recognized, it did not seem appropriate for someone to relieve him of it, to do what we sometimes did and call it out tohim in jovial helpfulness. He had to complete it all on his own, and hedid so. Where greatness and death came together, he declared, therearose a sovereign objectivity amenable to convention and leaving arrogant subjectivity behind, because in it the exclusively personal-whichafter all had been the surmounting of a tradition carried to its peakonce again outgrew itself by entering, grand and ghostlike, into themythic and collective.