“The silence of this music is that of a frozen catastrophe, but also that of limitless happiness.

The intensity of the emotional strain and that of the spiritual concentration are found here at their extreme point.

This silence, as I perceive it, has the power of a continuum: in its apparent absence of sound, it emphasizes every sound possible.

Each single sound leaving the boundaries of this continuum I experience as an event of extraordinary value. Of truly priceless value.

As priceless as that whole reality of which this sound always remains as a part.

And like that reality, each single sound is for me always a mystery.

The space of the audible is only one of the two spaces where this music deploys itself in consciousness.

The other space is that of the visible.

The visual space of this music is the realm of the gesture. I endow a gesture with a value equal to that of sound. For it is always in the energy of the former that we find the wellspring of the latter.

Every sound itself is indeed that energy.

Every musical sound I perceive as a gesture projected onto the space of the audible.

Often the gestures in this music nearly lose their audible dimension, thus turning the listener into a viewer.

And as the sound here always draws its path along the selvage of silence, so does the gesture along the boundary of motionlessness.

Motionlessness is here the silence of gesture.

As it is true in these works that the sound often reenters the realm of silence so as to reappear anew – or to remain there forever – so the gesture nearly or virtually dilutes its outlines in the space of the motionless.

What matters here is not the mere fact of the absence of what commonly used to function as material for music (4’33”), but precisely the rare graspability of the verge where music is given its birth and leaves the domain of the present.”

     Vadim Karassikov, 2001