Lemniscaat was completed in 1983 and is the first composition for four keyboard instruments that Simeon ten Holt wrote after Canto Ostinato. Lemniscaat can be regarded as a diptych whose parts are marked by a penetrating refrain. The composer calls the refrain an invocation which is characterized by very long sounding chords contrasting with the restless movement of the sixteenth notes in the intervening episodes. Now and again impressive melodies develop from the minimalist structures.
Simeon ten Holt once compared Lemniscaat to a toccata because of its capricious nature and virtuosity.
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The score is a compromise between too much and too little notation; the performers are left with a considerable margin of freedom, seemingly larger than usual.
When systems are not filled in, this does not neccessarily mean imply silence. On the other hand, the prescribed pitches do not have to be manifest all the time.