Impressed by the principles and sound structures of Venetian polychorality, I set up different orchestral choirs, each homogenous in itself: 4 flutes, 4 oboes, 4 clarinets, 4 bassoons in the woodwind section; 4 horns, 4 trumpets, 4 trombones and a tuba in the brass section; 4 percussionists and timpani positioned at the back, as well as a relatively small string ensemble emphasizing the low registers comprising 4 violins, 6 violoncellos and 8 double-basses, 4 of which are positioned on the extreme left while the other 4 are positioned on the extreme right. These individual mini-choirs alternate constantly in a very fast way. I abandoned entirely my preference for the smallest of transitions and imperceptible merging of sounds in favour of a clearly separating 'splitting sound', of a radical cutting technique.

The basic material is rather simple and strictly limited: a fast fanfare rhythm, a slowly repeated ritual-like stretched percussion pulse, and a melodic shape that, on each new note, wanders to another instrument group. Everything that follows arises from these three cells.

The fanfare impulse remains similar to its fundamental character throughout the piece despite various contrapuntal transformations, as does the original rhythmic form despite all kinds of modifications and variations. What changes radically is the melodic nucleus: it is gradually extended and stretched until it functions as a varied verse with a final sequence. At the same time, monophony gradually becomes a two-part, then three-part structure and finally polyphony which, however, jumps in sections from instrument group to instrument group. Everything is subjugated to the idea of alternate singing, of the antiphon.

- Jörg Widmann, in February 2008