In my music, it has gradually become a consistent characteristic, that the classical progressive narrative is substituted by a kind of nonlinear musical situation, where the musical tension is being established and examined by means of the friction between a number of musical units or sections - a kind of musical objects. Most often clear-cut objects which is being repeated literally, but because they rarely occur in the exact same order, a change of perspective arrises which undermines their otherwise so well anchored identity. The Concerto for piano and orchestra is composed by a number of predominantly rough and hard, edgy objects, which at times is on the verge of the hysterical, and which dominates most of the piece, but also by some rather distinctive objects which could rather be described as strangely distant and introspective, as a contrast to the prevailing barbarism.