Around this prevailing trait, many other ideas came to complete the writing of this piece:

• Flexibility of the musical phrase (directional tension, quantitative elasticity, progressive desintegration and recompostion). These aspects are totally subordinate to the contrapuntic writing and the independence of both hands (with sometimes the feeling of having two superimposed autonomous tempi).

•  Mobility of the harmonic mass, affecting the trillings or the beats of chords (with a quasi- tridimensional function) or still the harmonic constellations.

•  Embedding of the performer’s own rhythmic phrasing.

•  Frequent mutation: either on a constituent element (accentuation, rhythmic cell) or on a musical material (density, energy), or still on a compositional function (progressive distortion of time perception).

• Chord ostinato, fortissimo, (without pedal) in strict canonic writing with broken movements, very disjointed over the whole keyboard.

3A