Concerto for Piano and Ensemble confronts the post-Romantic concerto tradition — and its ideal of virtuosity — with an ensemble language shaped by breath, friction and noise.

The twelve-player ensemble generates a continuum of air, white noise and resistant textures, while the solo piano remains rooted in a virtuosic vocabulary explored through traditional and extended techniques. Rather than simply opposing one another, these two sound worlds continually filter and transform each other: pianistic brilliance is reframed by collective breath, resistance and unstable resonance.

As the work progresses, virtuosity becomes increasingly physical—at once human and animal-like—building toward a moment of brilliance before collapsing into suffocation. What remains is what preceded the concerto discourse itself: breath, whistling, white noise and residual resonance.