The tendency with a new aesthetic is to assume it has an underlying theory or concept. Such an assumption eases the initial reaction to harsh-sounding music or a form that isnt readily understood. But the truth is that the symphony is perhaps one of my most intuitive compositions to date, and it reflects only my desires regarding abstract sound and form. In that sense, one could say that it reflects a feeling or a period in my life, but that too would only be partially true, because this music is the outcome of more than a years work; a time in which I went through many contrasting emotional states. Perhaps this is why I deemed the work symphonic, as it seems to communicate an all-encompassing, yet unified narrative.

Taking his inspiration from the great romantic symphonies of Gustav Mahler and modern electronic composers of the 60s and 70s, Ilzetzki tells a long story in four parts. The story is dark, slow and idiosyncratic, but one thing is obvious when you listen to the entire piece - Ilzetzki has an amazing ability to control a compositions structure and development. Ilzetzki composed the piece using a limited set of analog synthesizers, but from this limitation, he managed to create a vast and austere world.

The charm of this release stems from the inability to positively pinpoint its genre. This truly is music of solitude - a solitude of substance, structure, style, and self.

Ilzetzkis music explores the intersection between through-composed and improvised pieces. His ongoing attempt is to strip forms to their bare essentials whilst still maintaining their identity. In recent years, Ilzetzki has been researching the application of games to musical structures, a fascination often leading to another artistic intersection - combining music with dramaturgy.
Dedicated to Vita Ilzetzki(1994-2014)