Oscar Bianchi about his second quartet

How could a work of music, despite its apparent concreteness, its “materical“ dimension, embrace such notion of « distance »? Three conditions, three state of consciousness are carrying throughout the piece the proposed experience of "distance": expression, observation and contemplation. If expression could be considered as the mere act of ‘’making’’, the mere condition of representing, of doing, observation embodies its counter-altar, an act of ‘’éloignement’’, as taking distance form the mere condition of doing. Out of the friction between doing and observing, doing and reflecting, as a transcendental evolution of the intellectual act of observation, contemplation arises.