On the screen, Christian Winther Christensen playing the theme from the Prelude in C Minor Op. 3, no. 2 by Rachmaninov is projected. Winther Christensen calls it a “cliché concerto” because he mixes clichés from both new music and the noise aesthetic that, among others, is inspired by Helmut Lachenmann. The orchestra continuously plays alongside the pianist in loops that each last a minute or so but are constantly changing, which is also a characteristic of the work‘s clichés. Noise elements gradually take over from the regular sounds of the instruments as the piece develops, with the composer placing focus on non-musically created sounds concretised from the sounds of various physical movements in the final section of the work – for example, from the sound of the composer sitting down on the piano stool.