My music suggests a complete break with the past and at the same time a most deeply connection with it: break in terms of classical structural procedures, connection in terms of traditional sacred concepts related to structural procedures. The most extreme example of this attitude is the Absolute Continuity Technique/Attitude which I have developed during my PhD.
More specifically, my music is the product of an attempt to see Contemporary Composition under the prism of Mystical Theology (Orthodox Christianity). Certain concepts of the mystic thought, such as, eschatological becoming, apophaticism and perichoresis (St Maximus the Confessor) are keys to this process. These concepts are not abstract ideas of some sort of poetic value; on the contrary, they are conceptual preoccupations related to human experience and they are related to the aesthetic concerns of my compositions. Eschatological Becoming finds its structural application to my pieces Cardiogram and Absolute Continuity where the sound is absolute continuous, something that destroys any idea of orchestration and counterpoint in the most rigid way (far more than Ligeti’s pieces) and along with extended techniques creates a timbral style with a strong sense of meditative power that I call Apophatic Spectralism (with a certain reference to Romanian Spectral School) or even more general, Apophatic Composition.
Apophatic Composition, with all its aspects, focuses on listening/hearing as experience, which according to my interpretation, requires an apophatic attitude from the listener, an apophatic perception of phenomena. This is a sort of negativity, an intellectual and behavioural attitude which negates all correlations through memory between the offered sound phenomena and the ‘pre-printed’ ideas and experiences within us, something that leads to an experiential perception. From this perspective, my music can (loosely) be considered as a sort of ‘Instrumental Sound Art’.