In his work Palindrome for piano (2000), Kirmo Lintinen has chosen a predetermined form: perfectly mirrored symmetry, and he makes it work wonderfully! Lintinen is not interested in hidden structures and working with minutiae, but rather lets the palindromic qualities of the palindrome be clearly visible and audible. Rather than using abstract tonerows, Lintinen mirrors a three-tiered musical characteristics, adding and then letting go suspension: Cantabile semplice/Giocoso/Fuocoso e flessibile - Fuocoso e flessibile/Giocoso/Cantabile semplice. The duration of the work, 180 seconds, is divided into six segments: 45sec:30sec:15sec:15sec: 30sec:45sec (3:2:1:1:2:3). The shorter the segment, the more raucuous the material.
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Teoksessaan Palindromi pianolle (2000), Kirmo Lintisen valitsema predeterminoitu muotoratkaisu, peilisymmetrinen molempiperoisuus, toimii mallikelpoisesti. Lintinen ei huku rannattomaan piilostrukturalistiseen näpertelyyn, vaan ilmiselvästi haluaa palindromin palindromisuuden havaittavan. Teoksessa peilataan kolmiportaisesti jännittyvää (ja rauhoittuvaa) musiikillista karakteria esim. abstraktien sävelrivien sijaan: Cantabile semplice/Giocoso/Fuocoso e flessibile - Fuocoso e flessibile/Giocoso/Cantabile semplice. Teoksen kokonaiskesto 180 sekuntia on jaettu suhteissa 45s:30s:15s: 15s:30s:45s (3:2:1:1:2:3). Mitä lyhyempi elintila - laulaen 3, leikkien 2, leimuten 1 - sitä rajumpi meno!