Borboudakis: I still see myself in a tradition of piano music, without wanting to compare myself to Chopin or Schumann. For me personally, the look backward at the history of music is very important, but I am not looking for dogmas of interpretation or composition when I do so.
I very much need the piano as a composer – not to try something out, but as a stage, as a performing composer. My primary goal is finding a successful balance between dexterity in the sense of technical perfection and intellectual superstructure. But beyond that I am also thrilled by the athletic aspect of virtuosity.
"Katharsis" establishes an arc back to tradition in the broadest sense. A confrontation of alternative worlds and strong conflicts oriented around Dante's "Divine Comedy" – but also around the tonal gestures of Franz Liszt, which are clearly audible in the final hammering E-flat-major chords. The electronic pieces do not so much mirror the piano pieces, even if reminiscences of them are inevitably. But you have more possibilities with the computer – that was the appeal for me: recording sounds, causing them to explode at umpteen times the speed, and finally pushing them to extremes.