{"content":"\n    <div class=\"detail-content\">\n        \n        <strong>About work:</strong> <p><em>Ma fin est mon commencement</em>, on the other hand, stays in a three-voice texture throughout piece, focusing mainly on consonances and verticality. The outer voices (violin and clarinet) are, with a few exceptions, led in strict contrary motion. The piano, on the other hand, plays just one pitch during (almost) the entire composition. There are a few exceptions to the strict counterpoint, quite important for me. For all the exceptions to this counterpoint rule, I would draw flowers as Arvo Pärt did in the manuscript of his <em>For Alina</em>.</p><br>\n        <em>(author)</em><br>\n        <br>\n        \n\n        <p>\n                <p><strong>First performance in Slovakia</strong></p>\n                \n                \n                19.12.2019,\n                SK\n\n<br><span class=\"type\">Performers: </span>Ensemble Ricercata, Ronald Šebesta (cl), Milan Paľa (vl), Ivan Šiller (pf)\n                <br>Version for clarinet, viola and piano.<br>\n                <p><strong>First performance in Slovakia</strong></p>\n                \n                \n                01.04.2022,\n                Small Concert Studio of the Slovak Radio,\n                Bratislava,\n                SK\n\n<br><span class=\"type\">Performers: </span>Ensemble Ricercata, Ronald Šebesta (cl), David Danel (vn), Ivan Šiller (pf)\n                <br>Version for clarinet, violin and piano.<br>\n\n\n            </p>\n    </div>\n"}