Adriana H�lszky's own comments concerning her music reveal her fascinating use of parameters such as "space" and "time". She prefers to describe her works as...

Adriana H�lszky's own comments concerning her music reveal her fascinating use of parameters such as "space" and "time". She prefers to describe her works as individually structured "sound spaces". There are "expanding and shrinking spaces", and there are shifts from one sound area to another, which she compares to film editing with it's sharp cuts or gentle fades. There are sudden "intrusions" of one sound area into another, and sometimes two or more sound areas are superimposed. Also, the concept of time does not exist for her as a single entity: Temporal processes appear in multiple strands in her music: cosmic time, terrestrial time, and an endless variety of experiential times that permeate one another and are superimposed. Her work "Efeu und Lichtfeld" [Ivy and Field of Light] also contains a stark contrast within itself. "The worlds of the violin and organ appear to exist independently of one another. The violin figures move like pin pricks in a disconnected and restless fashion, primarily in the extreme upper register of the instrument. The organ sounds are like pulsating sources of light. The multiple meanings of the contrasting sounds arise finally as a consequence of the interaction between gradual transformations of color and discontinuous changes in pulse." (H�lszky)