he Four Pieces for Clarinet, Trumpet, Piano and Percussion were composed at the beginning of my studies at the University of Music in Vienna, when I was 21 years old.

At that time, my compositional approach was characterized by a conscious desire to explore expressive possibilities that had been largely taboo in the post-war avant-garde: a vital rhythmic language with pulsating meters, tonal elements, and – more generally – a positive sense of playfulness that was unafraid of engaging with traditional material. The freedom in choosing musical means, and the willingness to embrace at times even striking or bold sonic effects, aimed at a kind of expressive immediacy that I found largely lacking in the contemporary concert repertoire.

All of this, however, could be found in jazz – a genre to which I had always felt a strong connection, even though it never fully represented my musical “home.” A concert by Ella Fitzgerald provided a decisive inspiration during the development of these pieces. I set out to merge the sound worlds of so-called “serious” and “popular” music into a personal musical language.

To this day, my compositional thinking continues to be guided by the intention to bring together contrasting elements and to build bridges across what may seem irreconcilable.

Martin Lichtfuss