The work "Carlo" is based on the examination of the madrigals of Carlo Gesualdo and represents the attempt to combine two completely different principles of composing music: on the one hand, the sound movement contained in the madrigal with a tonal or chromatic-harmonic form related to the vocal abilities and, on the other hand, contemporary structural ideas which are shaped by the technique of serial music and mathematical concepts of order. The latter arise from the attempt to discover new principles of form and to generate a contemporary structural movement with high complexity but easy accessibility.
The idea of using a Renaissance madrigal as a substantial moment for a contemporary composition seems to be the result of a postmodern thought. However, a distinction must be made between a postmodern citation technique and the heterogeneous integration of foreign material into a new context. In the composition "Carlo", this combination of heterogeneous elements is intensified into a question of existence: the new is constructed from the old. The old building becomes a quarry, or it is changed, extended, torn down and destroyed, as has always happened in architecture. But this work is also about attempting to answer the painful question of why this new should emerge at all.