Schmozart (2006) 10'

piano, violin, cello

The piece parodies an idea of composer as a medium and the situation of transmitting/receiving revelation. Mozart was chosen as a source of signal, i.e. as a figure representing the divine – or, rather, «Mozart» representing «the divine». The author positions himself as a transmitter of Mozartean stylistics and parasites on it. Do thus composed wrenches value or they remain just distortions? Is something added – sure not to Mozart but to «Mozart» – or it would be better to listen to the original?