Performed by: Wolfgang Meyer (clarinet); Esther Uhland/James Aston, (speakers); Carmina Quartett; Gitarrenensemble quasi fantasia. "In all three pieces -- the 'Guitar Quartet,' the 'String Quartet,' and the 'Clarinet Quintet' -- the melody is the comforting hand that was perhaps the oasis of calm for Saint Augustine. Just as his perception, shaken by the collision with the ego, wandered back to the content of perception, Machaut's melodies wander to me, and perhaps back again, more melodic mass than quotation, more parody than arrangement. Sometimes they are pulverized, smuggled through their spectra, or 'sung through' using traditional procedures of permutation -- inversion, retrograde, augmentation, and diminution. Husserl's On the Phenomenology of the Consciousness of Internal Time has occupied me for 25 years. Husserl's greatest error was perhaps the most fruitful one: the tone is not the slowest thing that decays; its parts decay at different speeds. It is not only impossible to perceive a melody phenomenological: the tone itself is an illusion. Its parts are the whole, up to the regress. With this difference between a remembered melody and one perceived now, between melody, tone, and tonal spectra -- a difference that signifies nothing other than an aesthetic weighting and tendency -- I set off on my search."