otolok: 12 tone composition in 5 parts with mirrors. 
part 1: 6 phrases, every phrase is mirrored halfway - the first note is also the last.
part 2: a 12 tone phrase changes one note at the time into another 12 tone phrase.
part 3: mirrored twice halfway. first, the whole composition is mirrored from hereon - part 4 mirrors 2 as part 5 mirrors 1. second, part 3 mirrors itself in terms of pitch. 
nothing mentioned about this piece should be taken too seriously, as the composer has taken great liberties himself.

oto.3-otolok

nani’s tapu: a tiny theme is developed, deconstructed and taken to its tumultuous end

oto.3-nani's tapu

fragility: bass violin slides in 5 min. 2 octaves down. in 5 min back up. pulse in drums slows in 10 min. down through different percussion instruments. soprano saxophone plays long static notes, that create an ever changing interval with the violin.

oto.3-fragility

s.t.: composition dealing with a changing tempo track and alternate fingerings on saxophone. 

oto.3-st

distant: composition in 4 parts. the order of parts is open, the musicians have to sense their way through. drums decide, as usual. 

oto.3-distant


strut: created around an aural phenomenon:  when two tones are played simultaneously, a listener can perceive an additional tone whose frequency is the difference of the two frequencies.

oto.3-strut


rye: composition in 3 similar sections. each musician leads a section and decides on the arrangement.

oto.3-rye

oto.3 creates music that is based on ideas in sound.
Maarten Visser organizes the structures, ideas and developments in sound, and
takes these open scores to the musicians, Holger Jetter and Robbert van Hulzen.
Together they create a music which offers ample space for the musicians to
make their own musical plan, manipulate the score,
improvise.
Music with a constant tension between sound and silence, notes and noise,
between structure and freedom.