“The Egyptian”‘ (IX. Symphony)

the o.m.t. universal work of art uses music, shouting and noise as the major form of expression. the dramatic music of o.m.t. has its origin in the ecstatic state of agitation.
the shrieks of torment, lust and the agonies of birth and death lie in the prelinguistic realm. my music has sublimated itself more and more. the organ sound of the orchestra is becoming more and more essential for me. all the same, it is fathomed again and again in the abysses of prelanguage and the soundless. it is taken as given that an action is connected to sounds and noise. only the true connoisseurs of my work know that my music has its own specific values. again and again the music of the o.m.t. is performed alone, in concert, separate from the actions.

i usually use the classical form of the symphony. the structure of the symphony is closest to the scheme of tragedy.

1^st movement: enormous exposition
2^nd movement: a scherzo often unloading into the daemonic
3^rd movement: meditative adagio
4^th movement: large-scale, positive or tragic finale.

the monumental acoustic media and the enormous time dimensions are powered in the music of the o.m.t. all the same, at the 6-day play, every day, every night, every minute is thoroughly composed. although i make use of other sound means, the models for my symphony would be the symphonies of mahler, bruckner, the music of scriabin and the monumental compositions of olivier messiaen.