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My music draws inspiration from the mystic thought-as-experience, as presented in the Eastern Orthodox Church by significant theologians, such as St Dionysius the Areopagite and St Maximus the Confessor. My compositional practice can be seen as an attempt to bring closer two fields which are traditionally considered to be opposites: contemporary music and theology (mystic thought). This is obvious in my music as the formation of a certain aesthetic approach in the contemplation of sonorities and structures, at least in phenomenological terms. More clearly, this aesthetics can be traced in the relation between concepts of mystic thought, such as eschatological becoming and perichorisis, and certain musical techniques and attitudes, such as constantly transforming sonorities, or the attempt (at least in the early stages of my compositional explorations) to bring closer different compositional approaches: a spectral attitude towards sound (spectral music of the Romanian ‘school’); the relational dialectics of sound objects as in the music of Helmut Lachenmann; and the splinterness of form and structure as block form and permeability in Stravinsky’s music. This approach enabled me to extend certain styles and attitudes to the extreme, such as an unprecended case of absolute continuity in combination with block form that is formulated in my string quartet Cardiogram.
In my last pieces, such as, Absolute Continuity for 4 Contrabasses and live electronics, I abandoned the idea to bring closer different styles and I am exclusively focused in exploring individual concepts, such as, transforming sonorities in relation to St Maximus’s eschatological becoming. This led me to explore in a more clear way my personal compositional technique/attitude: Absolute Continuity. Still, certain textural sound surfaces are present in my pieces, in a more undefinable way, a quasi Rothko’s multiform technique where the one colour surface is followed by another in a smooth way, more or less, organic.