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Hi...

Since I learnt of the Mosaic Form from Stravinsky (Symphony of Wind Instruments), among others, I fell in love with it. 

In it, there are a number of short parts that the composer put together in different manners.

So, the concept of classical forms, and the concept of repetition is simply another one.

This piece takes the idea of the labyrinth from the other side (compared to the one in the prepared piano piece). This one looks inwards and I wanted to write something "intimate".

So, this work is written for another kind of prepared piano: it should be played with the una corda pedal all the time, and with a fabric on the strings of the piano, to get the sound.

There are 11 fragments using always pentatonic scales (some of them with two scales at a time).  There are two expositions of the material:

Firstly in a sort of "disorder" (as looking for the exit), secondly in the "right" order. Details can be seen in the final page of the score.

I am aware that this Mosaic Form is something unexpected (in fact that's its main purpose). You can't compare it to a AB or ABA form, or whatever. Its organization takes its essentials in other concepts. 

LABYRINTH 2 - SCORE.pdf

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I loved it. This is a great contrast to the first movement. I'm sure using such an unusual form is not easy, but I think you handled all the different themes in a way that felt organic.

And yes, the Symphonies of Wind Instruments is a masterpiece

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Your labyrinth series of pieces is brilliant. This is one of the most unique and creative pieces I have heard on this site in a while. As fishyfry pointed out, I love the contrast that the 2nd movement gives to the first. The atmosphere and the color of the second one is very charming and soothing in a strange way. I really like the way you have utilized the prepared piano. You have used it to produce new sounds other then the regular hitting of the key, but it isn't what you usually get out of prepared piano pieces. It still takes a very musical and melodic approach. You have managed to use the new colors you get out of each new string sound to fit a purpose in the overall tone to the piece. It is as if Bach had written his Goldberg Variations for prepared piano - that is what you are accomplishing. I think you should keep going and write many more movements of this. 

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