Since the early 1980s, Savaskan's music has brought together the two previously unrelated strands of his activities and compositional concerns: an interest in high level organisation and a seemingly contradictory commitment to total spontaneity.

Features of his earlier highly structured notated compositions, and his past work as an improvising musician are now combined in a constructivist context based on a personal compositional method of tonal/formal logistics.

Although complex in its structural planning and detail, Savaskan's music is considered by many well known critics to be emotionally highly charged; direct in its expressivity, textural clarity and surface immediacy.

 

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