Not intended as solo concertos in a strict, classical sense, these compositions, even though perhaps technically difficult, were not conceived as primarily virtuosic gymnastics, and therefore do not ask the near-impossible from the soloists just for the sake of demonstrating technical prowess. I prefer to simply think of them as pieces of music, some completely notated, some involving improvisation, that happen to feature the unique sound of a particular instrument combined with the individuality of the soloists.

In a way, some forty years later, these concertos represent a return to as well as a re-thinking of the original concept of my work with the Jazz Composer's Orchestra, the soloists now from contemporary new music (non-improvising) as well as from new jazz and rock (improvising/ freely interpreting), supported by a classical, though musically flexible, chamber ensemble. (Michael Mantler)

Combining musical materials and characters – interrelating, juxtaposing and condensing them into a complex whole – always implies, whether deliberately or not, drawing up something akin to a picture of the world. A reflection, a counter-image, a draft, a vision ... How does one view this world when, like Michael Mantler, one was born in Vienna, grew up there with classical and modern music, moved to New York at the age of 19, found oneself suddenly plunged into America's jazz avant-garde and inscribed a large circle by returning to Europe? Mantler is truly nowhere at home, a drifter seasoned in the role of creative outsider, uniting the perspective of two continents and two cultures. He views music from the twin vantage points of the elaborated European tradition and the American rebellion in jazz – a rebellion that sought to topple every convention applicable to date. (Bert Noglik)