​Here Comes Messiah was clearly marked with the Kovler stamp. Mátti’s instruments are not merely textural tools, but characters themselves. There was no question that we were not watching a poem with orchestral accompaniment, but instead the group effort of a large cast of players – in which extraordinary poet-translator, Janice Silverman Rebibo unambiguously belongs. Mátti was at the piano, and he brilliantly made use of it in this passage, as both a harmonic and percussive instrument, driving the sound of the others around him. Although his part in Here Comes Messiah is less central than in his Cokboy, and the work revolves around a woman’s experience in child birth, it is, nonetheless, entirely an extension of Matti himself. He is wholly present in his music, and not simply because of his compositional language or aesthetic. The audience does not need to be introduced to the composer, or his thought process, to become privy to his internal world – he wills us to come in.