for three musicians [flute mouthpieces, piano and stones]After a time. Retrospective view. Thinking over "per . _ o”. I have just realized why. Did I have to write that piece, didn’t I?On the one hand work on “per” allowed me to get rid of pitch-oriented thinking on the other hand has become a stage towards the exploration of movement and energy of the body as a musical medium.The most important intention contained in that piece is to trigger off musicians the basic forms of motion (title point, line and circle). Improvised introduction through large reduction of music material allows musicians to focus on the pure body motion thereby contributes to the better interpretation of successive sections written as a regular score. Clarity of composition’s purpose is strengthened as well through a number of restrictions and restraints: musicians play only the parts of instruments (flute – mouthpieces, piano – the highest and lowest register), the harmony, rhythm, timbre – all the music elements are reduced to basic impulses: points of articulation, lines of glissandi and longer sounds, circulation of breath and circulation/exchanging the stones. In the midst of a piece of limited material and partial instruments the attention must be brought to this, what remains: small gestures: intimacy.This piece has turned my aesthetic determinants of music to movements of the hand, the blow, changing pressure, speed, direction, separation and joining.The piece privileges musicians as “those, who perform” and “those who experience the most”. This is the piece for musicians. This piece is a stone.