Thorsten Corban: Diabelli Contest 2016

Orff is the inspiration?
Orff’s soundscapes unfold from the center of the composition out of their charisma: The timeless omnipotence of the beloved (omnipotens) challenges us to copy styles of different times and to commingle. Palestrina encounters Bruckner, this opens up to Genzmer, Orff and others. Thematic material of a style returns in other styles.

An interlacing of linguistic levels (Latin, Old High German, Spanish, etc.) could actually be consistent, but unfortunately this is not permissible.
Is this omnipotence then recognizable in a whisper - as in the Book of Exodus? Or rather in a cry - as in the Passion? Does it manifested itself in a rhythm? ( the moon, of all things, captures Orff rhythmically, lost here by the reduction in the rhythm and pentatonic shape - because it does not seem precise!)

 Or it shows itself in a glissando? (Here every composing person proves themself incapable of recording each of the infinite number of tones!)
This composition creates a hundred approaches to describe the incomprehensible omnipotence, but it remains incomplete, because they must remain piecemeal. The leitmotif is the inability to make the incomprehensible comprehensible.