Metaphysically, in the spirit of a kind of happy self-reference, this piece Is what the narrator speaks about: this magical process of TIME becoming SPACE;
It plays with a sacred geometry of figures or forms which emerge out of movement — triangles, squares, pentagons and other far more complex shapes — which cycle round and round in musical space independently of one another.
In other words, the order unfolded here is at first asynchronous. And, in a way, what mathematicians call incommensurable. Or what the guy at the gas station might think of as fractions that do not add up. This asynchronous order is everywhere in nature. But it is still harmony. It is a very much more complex harmony than the simple measures of combinations twos or threes which have dominated musical thinking — largely because of the XY grid of western notation — already three or four hundred years before the time of BACH.
