“Lauschgut” (2018/19) follows the idea of freeing the piano from its chordal tradition. Instead, the single note is fringed so far inwards that pitch and noise can meet in “fanned-out unanimity”. The piece consists of five short fragments reduced to very little material. They are further dispersed by extensive silences between the movements: what is once said stands irretrievably in space. In the risk of the emergence of sound as well as the interrupted form, what is heard is also “eavesdropped”...