“The subject of Perplex (l perpléxus = perplexed, confused) is the confrontation of several musical textures. The unison opening is repeated three times in the course of the piece; as an ending of the first and the second part and as start of the fourth part. Aside from this opening, other musical subjects vary with one another. The subjects contrast strongly and are hardly connected. The piece has no transitional stages and a suggesting character. Motifs and phrases are revealed but not developed further in a romantic way. The four components of the piece are in the proportion of themselves in time as 5:7:4:8. These number proportions stipulate at lower levels the mutual length in relation to the individual motifs and phrases. This manner of composing is based on the planned rhythmic structure analogous to the isometrics of the Ars nova analogous (14th Century) with composers like Guillaume de Machaut and Landini. The foundation of the piece is formed by a succession of four chords, which remains unchanged and is invariably repeated. This too, is a process with a long history. These chords have a strongly tonal identity, but cannot be easily placed in a key because the relationship of the chords is unclear. It is only at the end of the piece that freedom is added to this technique. Through the use of three instrumental duos: flute/clarinet, violin/violoncello and vibraphone/piano the piece has a truly own sound with strong percussive character. Vibraphone and piano have a function similar to the continuo section (i.e. the combination of keyboard instrument with a bass instrument) from the Baroque.”

– Theo Verbey