G and E on A (1997)
(for orchestra and 27 music boxes)

"This reminds me to talk about light and colour. It seems obvious to me that the difference of colour comes from light, since every colour, placed in darkness, no longer appears as as that which it is in the light. The shadow makes the colour dark. Struck by the light it becomes light. Colour is swallowed up by darkness."
Leon Battista Alberti: Drei Bücher über Malerei, 1435

"Emerald, ruby, hyacinth, chalcedony, jasper. Colour, like these jewels, is precious. Even even more precious because, unlike the glittering things, you can't own them. Colour colour slips through your fingers and escapes. You can't put them in a jewellery box when it disappears into the dark."
Derek Jarman: Chroma (1994), Ein Buch der Farben, Merve Verlag, Berlin 1995

When composing, I touch the sounds and noises with my hands, cradle them, feel their potentials between the palms of my hands. The skeletal textures and sounds developed in this way like pictures standing in a white room, placed in the silence, next to each other next to each other, on top of each other, against each other: in search of an intense music.

"... it is not developments that are unfolded, but 'states of being' that are joined together in hard are joined together in hard cuts - attention is captivated by its existence alone."
Gertrude Stein on her book Ida. A Novel (1941), Suhrkamp Verlag 1984

G and E on A refers to the central tones of the composition, like colours in a painting.