VISUAL ART PATTERNS Even superficial contact with extensive cycles of Georgescu's pieces inspired by works of estimated plastic arts representatives [Mondrian, Brâncuși or Țuculescu] suggests that the composer wanted more than to celebrate the memory of his favourite artists or illustrate their works of art with music. In this case painting and sculpture seem to be the inspiration and the pattern for the art of sound.  In the case of Georgescu, the choice of "plastic arts patterns" is very meaningful: Brâncuși is somewhat a forerunner of minimalism being a certain artistic thought, Tuculescu "combines, as no one else, naive folk features and the mood of tragedy", while Piet Mondrian “in a sharp opposition to this folk-decorative expressionism" creates "a radical, objective and pure aesthetics based on geometry and primary colours, beyond any style and affiliation with space and time". Georgescu declares that the last two patterns helped him accommodate his own artistic contradictions. Both have features of "primitivism", but in the first one, it's chaotic, in the second one - geometrical. In this context, the primitive and the archetypical seem to be inseparable, similarly to tragedy and sublimity. The combination of two with already mentioned idea of atemporality, create a family of ideas that are fundamental to Georgescu’s work. ROMANIAN IN BERLIN Georgescu is a citizen of Berlin and he is glad he chose this particular place on Earth, although it is not difficult to detect a note of bitterness in this declaration. He underlines that as an artist and a representative of the - untypical of [Western] Europe - Romanian culture, he is perceived as a rarity, an odd exception, "alien"... and he remains not fully understood. Basic assumptions of his music are strange to Germans, even if their music is today something more than Darmstadt serialism “with appurtenances". Nevertheless, this is where a certain archetype for the new German music has been created. One can act along or against it, but being German, one is always in its range. The composer finds some positive sides of this situation after all. As if he didn't want the feeling of ostensible understanding, acceptance and familiarity to obscure the truth about his position. Choosing Berlin and discarding Bucharest and Paris appears as rejection of any illusions Georgescu had about the role and rank of an artist in the world... This are fragments of the CD-booklet. My thanks to Mr. Thomasz Kaminski, the author of this text, to Mrs. Marta Skotnicka, the translator and to Mr. Michał Mendyk, the editor of the CD to permis me to publish this text here. Recorddings offered by Radio Romania - 2012 niklas/grafika i rzecz Bolt: New Music in Eastern Europe // Distribution Monotype Records // Recorded: 1982, 2007, 1996- Mastering by Zofia Morus; Translated by Mrs. Marta Skotnicka.