Post-tonality, lyrical 106 BPM internal pulse with displaced accents and shifting groupings; instrumental concert grand piano articulating the D-A-B♭-F-E figure through rhythmically defined ostinato, independent voice leading, mobile bass, contrasting registers, expansive five-stage development, and measured coda; sparse pedal, dry close recording, crisp transients, controlled resonance
Lyrical post-tonality for solo concert grand piano, D-A-B♭-F-E divided among three equal contrapuntal voices, concealed inner notes gradually shifting between hands into a near-independent middle line, active bass responses, extended development, second build-up, post-climax coda, soft precise attack, p-mp dynamics, localized rubato, audible overlaps and decays, slow continuous 66 BPM
Solo piano piece "Sukhumi. Largo semplice," lyrical post-tonality, 48 BPM, target duration 5 minutes 30 seconds. Spacious form: a sparse introduction; the return of intervals from the D-A-B♭-F-E figure; slow expansion; a quiet peak that avoids a climax; gradual thinning out; a long coda. The musical material is recognized only late and does not return in a literal recapitulation. The outer voices briefly converge around an open fifth, leaving a faint Georgian trace without direct quotation or national emblems. Certain sympathetic strings remain undamped; the ending is determined by the release of the hands and pedal, followed by natural decay. Do not conclude the piece after the initial slowing down; a final, independent section must emerge thereafter. No farewell lament, grand climax, or definitive resolution. Concert grand piano only-no vocals, choir, orchestra, electronics, rain, or background sounds.
Lyrical post-key for solo concert grand piano, refracted as a slow chamber impression at ≈52 BPM: pp-p, suspended opening, D-A-B-F- hinted through widely separated registers, rare low harmonic anchoring like a subdued Georgian drone, clear tactile attack and natural decay, shifting developmental phases after a modified return, extended unresolved coda without premature closure; dry intimate studio space, restrained overtones, forward melodic logic preserved while the music remains unaware of its own ending
Solo piano piece "Sukhumi.Moderato"-a resonant, late-period revision characterized by lyrical post-tonality and a tempo of 60 BPM. Two audible voices hold equal status: the upper voice is not a melody, nor is the lower one an accompaniment. They enter separately, overlap, diverge, and converge again. A third, nearly inaudible voice is created by the open strings D, E, F, A, and B-flat (first octave), held silently via the sostenuto pedal; this voice manifests through timbral shifts and a long decay. The middle section introduces a restrained rhythmic ostinato and an active bass line-faint traces of Western Georgian polyphony, devoid of folk melodies, dance rhythms, or direct quotations. Form: preparation of silence; polyphonic dialogue; expansion; a near-stationary central section; a modified return; a long coda. Development continues after the central pause. Dynamics: p-pp; brief use of the damper pedal. For concert grand piano only; no vocals, choir, orchestra, electronics, or rain sounds.