Nothing is as present as music extempore.
As desperately as the improviser waits for inspiration by the muse, on which he depends, he is still honestly surprised once it comes. Surprised by seduction to play music for which there is no correct fingering. Music
for which he is not prepared – and for which he must not be prepared. Music, which also requires improvised meth- ods of performance, now!
Music spontaneously composed originates from the presence of the spirit. Just like words can be found for the things that are in our hearts – un- less the bored faces of the people to whom we speak make us realize that they know it better (and have for a long time) ...Coming up now! with something that is new for both of us, foreseeing the un- foreseeable: This is music extempore. To achieve this, I have embraced the music of Erik Satie. Through closely- tied and personalized improvisation, I gained insights and found open win- dows and doors. I looked into Satie’s music applying the rules it follows. Every day, I interpreted its horoscope, so to speak. What other development potential would have been “in it” for its idea?
He himself led the path. With his “Wrong Dances,” he wrote the same piece three times: In his understand- ing, apparently, there is no one phras- ing of a thought that remains valid through the times. Neither in my un- derstanding, by the way.