Stanič’s Concerto for Piano and Orchestra is conceived as a single-movement work, whose internal structure is rooted in the initial musical idea—namely, the sonic pulsation of tonal planes, or the oscillation of amplitude of individual sonic information through phases of soft-loud. The piano part is at times distinctly virtuosic and highly demanding for the performer, while in its counter-phase it functions as an accompaniment to the orchestra; in these sections, the piece could also be understood as a Concerto for Orchestra and Piano.
The composition builds its cyclical musical potential on sonic and timbral effects, marked by the use of extended performance techniques on orchestral instruments and a relatively rich array of percussion. The solo part occasionally yields to aleatoricism, in order to retreat from meter in the sense of the aforementioned counter-phase. The same applies to some accompanying orchestral instruments.
At the opposite extreme lies isorhythmic, "square" mensural music, further emphasized by the inclusion of hammer and anvil. Stanič's musical language in the concerto—like in many of his other works composed over the past decade—is marked by numerous onomatopoeic elements, such as various animal sounds (the leitmotif being a majestic donkey bray), tinnitus (ringing or high-pitched whistling in the ears), which follows the listener into silence after the loudest passage of the piece, the use of a paragram of the biblical Pater Noster in combination with the simulation of a wall clock, imitation of reversed listening to music (as if an LP were being played backwards), “bending of sound” reminiscent of what happens when a record spins faster, and more.
The solo piano is treated mostly as a percussion instrument, and its rapid execution serves as a reminder that psychoacoustically, any melodic line—if played fast enough—begins to merge into a continuous sonic surface where the listener can no longer distinguish individual tones, as only a curtain of sound remains.
In certain phases, the harmonic material includes clearly tonal chords—not in the function of tonality, but as fleeting moments. These kinds of acoustic retouches are also represented by numerous glissandi, both in the strings, brass, and woodwinds.