The title "Prozession" invites to two different readings: In terms of ritual and in terms of process . The ritual aspect is obvious in the instrumentation and the scenic disposition of the piece. With instrumental forces similar to a marching band, I wanted to evoke a the feeling of a slowly moving procession of people, maybe something like a funeral march. The seating of the ensemble in two similar groups also makes room for several archetypical situations: The two groups opposing eachother, coming together in total symmetry, breaking up into complex formations of sub-groups, etc. This may aslo be interpreted as a metaphor for different kinds of group-dynamics in human behaviour. When it comes to form and development, the processual aspect is the most important strategy of the piece: a simple rythmical motif is coupled with a signal-like theme, and directed in a cumulative way as the piece unfolds. This cumulative motion is broken up with sections of more hesitant, non-directional music. While the simple cells are filtered, proliferated and enhanced according to strict structural processes, the intersected material acts in a different manner. Rather than developing, these sections meditate on and accentuate the properties of the basic material and its different stages of development. This might be regarded as an attempt to write a "self-consciousness" or even a "consience" into the work: The music develops and transforms, but is at the same time aware of its own developments and transitions. It migth also be a way of dealing with the saying that "a story told in a straight line is probably a lie".