Symphony #2 was originally composed in 1989, right after Symphony #1.
Polytempo helps to emphasize differences between simultaneously sounding musical structures. Polytempo is an integral part of synchronous music, the compositional technique developed in my later works.
Symphony #2 introduced musical cubism for the first time:
Shapes are drawn by broken lines on the score and used to fill space as time unfolds. The shapes are identified by the presence or absence of sounds. The instruments performing a shape are organized from low to high ranges vertically, so the duration of notes from each range delineates the shape (such as a circle - where middle-ranged pitches might be held for the longest time, while increasingly lower and higher pitches might sound for shorter periods relative to their places near the bottom and top of the circle). Musical shapes interact and develop.
In my later compositions, three basic shapes (rectangles, triangles, and circles) or their elements are represented by different musical material, tempos, dynamics and groups of instruments. Their symbolic meaning refers to the classical interpretation of the "three basic figures".
My musical cubism has nothing to do with attempts made in this direction by Igor Stravinsky in 1910-1920. Its appearance in my compositions resulted from the development of the synchronous technique.
Elements of musical theater (the conductor speaks to the audience in the middle of the performance) might remind you of compositions by Mauricio Kagel.
