The main idea behind the piece is the creation of dialectic situations within the monophonic limitations of solo music. Different pairs of timbral elements on a prepared violin enter into continuous dialogues, which may be perceived as fragile. Five sound materials are arranged in the order from continuous, sustained to discontinuous, percussive sounds: 1. Twittering: High fast downwards ricochet notes and high upwards glissandi with harmonic fingering. 2. Yowling: Low (dirty) single notes and downwards glissandi with normal fingering. 3. Whistling: Fingernail pizzicato (left hand) together with high (harmonic) “screw fingering”. 4. Pecking: Screw, plug and rapid fingertip pizzicato with low fingernail fingering. 5. Dabbing: Legno battuto gettato alongside the fingerboard, partly with dampened strings.The piece undergoes a clear formal development starting with material 1 in a high density with low dynamics. Soon material 2 enters in a low density with high dynamics, creating an inequal, imbalanced dialogue. Both materials develop in opposite directions: whilst material 1 reaches a low density and high dynamics before disappearing, material 2 moves towards high density and low dynamics.?Now material 3 enters into a similar dialogue with material 2, the same procedure is then repeated between materials 3 and 4 as well as 4 and 5. When material 5 disappears, the fragile dialogues have come to an end.
Commission: violinist Peter Sheppard Skærved (Gbr).