This piece was originally constructed for a live performance involving five musicians: First and second Violin, Viola, Cello and a Looper and effects operator. It's built on three macro principles.

Memory

Metamorphosis of Surroundings unfolds the way memory does.

Not in the order things happened, but in the order that things decide to return.

A simple harmony repeats like a thought, coming in waves, not willing to leave.

Every loop grows its own outline, as if the sound is remembering and enriching itself.

Elements are being copied and repetition is decaying.

The quartet moves like recollection; not forward, but inward. Playing onto itself.

Lines overlap the way memories do when they stop being separate events

and become atmosphere. Electronics stretch the moment as if the piece is overhearing its own past.

The harmony returns altered; recognizable, but not intact. This is how familiarity becomes unfamiliar without ever breaking. There’s no arrival.

Only the quiet realization that what you’re hearing now could not exist without what has already faded.

Change does not replace memory. it absorbs and makes context out of it until the boundary between what remains and what has transformed is no longer audible.

Architecture

The piece is built the way a space is built not from walls outward, but from simple proportions.

The first movement establishes a dimension, a very simple line drawn without declaring its purpose. The quartet enters like architecture unfolding in real time: pillars of sustained tone, crossbeams of harmony, air treated as material.

Repetition functions like structure not decorative, but load-bearing. Each return reinforces what the ear can stand on, while slightly shifting the foundation 

Electronics extend the already existing blueprint, as if the space is mirrored underground. A second architecture made of reflection,listening rather than speaking.

The quartet climbs toward climax redistributing the weight. 

By the end, nothing collapses and nothing resolves. The architecture remains. But the proportions have shifted so completely that the same space feels almost newly constructed.

Transformation here is not the event, but the alignment a recalibration of what supports, what echoes, and what remains standing after the sound has moved on.

Time

Time here is not as a path to be followed, but as something that can be stretched, folded and thinned to transparency.

The opening repeats not to advance, but to suspend. Duration becomes a surface where sound leaves no footprint.

The quartet moves without urgency, just its own previous rumes. Repetition alters time’s density (not the rhythm's). The measure stays the same, the experience does not.

There is no acceleration, no destination. Transformation occurs without time moving forward.

This piece was originally constructed for a live performance involving five musicians: First and second Violin, Viola, Cello and a Looper and effects operator. It's built on three macro principles.

Memory

Metamorphosis of Surroundings unfolds the way memory does.

Not in the order things happened, but in the order that things decide to return.

A simple harmony repeats like a thought, coming in waves, not willing to leave.

Every loop grows its own outline, as if the sound is remembering and enriching itself.

Elements are being copied and repetition is decaying.

The quartet moves like recollection; not forward, but inward. Playing onto itself.

Lines overlap the way memories do when they stop being separate events

and become atmosphere. Electronics stretch the moment as if the piece is overhearing its own past.

The harmony returns altered; recognizable, but not intact. This is how familiarity becomes unfamiliar without ever breaking. There’s no arrival.

Only the quiet realization that what you’re hearing now could not exist without what has already faded.

Change does not replace memory. it absorbs and makes context out of it until the boundary between what remains and what has transformed is no longer audible.

Architecture

The piece is built the way a space is built not from walls outward, but from simple proportions.

The first movement establishes a dimension, a very simple line drawn without declaring its purpose. The quartet enters like architecture unfolding in real time: pillars of sustained tone, crossbeams of harmony, air treated as material.

Repetition functions like structure not decorative, but load-bearing. Each return reinforces what the ear can stand on, while slightly shifting the foundation 

Electronics extend the already existing blueprint, as if the space is mirrored underground. A second architecture made of reflection,listening rather than speaking.

The quartet climbs toward climax redistributing the weight. 

By the end, nothing collapses and nothing resolves. The architecture remains. But the proportions have shifted so completely that the same space feels almost newly constructed.

Transformation here is not the event, but the alignment a recalibration of what supports, what echoes, and what remains standing after the sound has moved on.

Time

Time here is not as a path to be followed, but as something that can be stretched, folded and thinned to transparency.

The opening repeats not to advance, but to suspend. Duration becomes a surface where sound leaves no footprint.

The quartet moves without urgency, just its own previous rumes. Repetition alters time’s density (not the rhythm's). The measure stays the same, the experience does not.

There is no acceleration, no destination. Transformation occurs without time moving forward.