Anton Batagov's piano "formulas" transform the familiar sound of the piano into a meditative journey into the sound itself. Repetitions, barely noticeable shifts, and the breath of the ancient instrument gather attention into a single point, erasing the hustle of the day and providing a rare sense of peace and clarity, like a long exhale after a noisy city day. Anton Batagov has long been accustomed to working with time as freely as with notes. His new program is built on repeating formulas, in which simple sequences of sounds slowly unfold, changing accents, density, and register. At first, it seems that almost nothing is happening, but after a few minutes, you catch yourself realizing that your breath has evened out, your thoughts have stopped rushing, and your attention is fully focused on the soft pulse of the piano. The compositions of the cycle rely on ancient principles of working with material - chaconne, passacaglia, canon, counterpoint, rondo. These forms perfectly align with a minimalist type of thinking: from a few simple intonations, new configurations are born, bright and disturbing, transparent and dense. The object of contemplation becomes the sound itself, its aftertaste, and the silence between phrases, rather than the story it is supposed to illustrate. The music seems to tune the listener's internal rhythm, offering a momentary escape from external noise. A special role here belongs to the instrument. Batagov plays on an old Steinway piano from the 19th century, which is unlike perfectly polished concert machines. Such an instrument has a different character: a slightly rough cantilena, a lively response from the wooden body, a rich, sometimes unexpectedly hoarse bass. Each note sounds like a voice from the past, and the piano itself becomes a time machine, transporting the listener to a space without gadgets, notifications, and haste.