The tragic moment of the myth is not the impossible love between Narcissus and Narcissus, but that between Narcissus and Echo. She offers him an acoustic counterpart, which he doesn't understand, because he prefers the visual one. Anyone interested in narcissism should love echoes. Imitations, echoes, call/response: these strategies (to let the term "technique" rest for a moment) make many of my interests — in "right" and "wrong" notes, the dissolution of "identities", covert and not-so-covert ideologies, and of course general narcissism — particularly musically usable. The five and a half pieces gathered here I made between 2011 and 2017. (While the vocal arrangement of Something Larger was made in 2019, conceptually the piece dates back to 2011.) More maybe than conventional compositions, these pieces sound different from performance to performance — because they rely on the spontaneity of the performers, or because they work with pre-recorded material recorded by the musicians. The Feieromdlied stands as a representative of my long farewell to classical instruments and conventional notation. Here, the limits of the Bb clarinet range are exposed. Meanwhile, the clarinettist sings the instrument into well-deserved retirement (Feieromd, Ore Mountain dialect for Feierabend, means knocking-off time). Mirrored, of course, with herself and the instrument. There is no such thing as a solid, integrated identity; there are only versions, editions of oneself. This wisdom we owe to Tiffany. Ever since that Feierabend, I have been striving for a music that is composed, but works without scores and is presented performatively. A music that is easy to perform, but not banal or simplistic. Performative action/reaction: nothing spurs me on more than being provoked. These provocations, be it the feigned belief in fate in the manner of a G.H.W. Bush, the brashly impudent lies of a Tiffany Trump, or the solemn chauvinism of a Ludwig Pietsch, are reflected back at the senders, with amplification — Echo putting a megaphone to Narcissus’ ears. Those ensemble pieces that are performed without a conductor (and, like Tiffany, also without a score) consist of reactions only. Spontaneous — but not improvised — outbursts of performative musical energy: reactive-active interventions against the bullshitization of the world. Mathias Monrad Møller