Hi. "The fact for which 20 people agree about a certain topic does not make them to be right about that topic", I would say. But anyway.

What is so monumental in my Georema? I'll try to put it this way. Take Bach's "Partita No. 2" (https://www.youtube.com/watch?v=d-my1JH9uMk), the "Sinfonia" is basically divided in 3 pieces - from 02:07 (the third piece) to the end there's a huge counterpoint which Robert Cummings rightly defines as "Bach's deft counterpoint and rhythmic subtlety", also the rhythmic part is important. To see, as Bach always does, a musical event playing "on the left" (or up, as you prefer), and another different musical event "on the right", is something extraordinary. I think the counterpoint is the most "musical" musical form ever reached. To understand the articulation of the notes between themselves, which belong to different melodies but together create the basic harmony of the whole structure, is so stimulating that thus is so satisfying. My composition is just about this: a wide range of melodies which together build a set of counterpoints, the whole marked by a constant transformation of the rhythmical structure, which is suffocated, regulated, abused to get as close as possible to the most intricate, refined, powerful result offered by the interlacing play of the tempestuous notes.